About Recording
As for recording for PentaTone, Julia “had offers from big companies but none appealed. You don’t have to record. Yakov spoke to the people at PentaTone and to me and put us together. PentaTone more or less gave me carte blanche as to what I record and the musicians I work with are my choice; all these things were so important to me. I record to experience something and to help my playing and music-making. For the concerto CD, Yakov and I really talked about the pieces; I learnt so much by that.”
“What is helpful for a career is that it is always about the music and not about the career. As soon as a young musician decides for certain reasons to have a career instead of using musical reasons, I can guarantee that it will be - if it will be at all - a short career. I truly believe that if someone wants to spend his professional life with music, he will - either as a soloist, orchestra member, teacher, concert promoter, or agent - in the end it is unimportant. One should choose to become a musician because one believes that the world needs music and without music, the emotional life of human beings is going to die. Everything else will come with dedication and hard work.”
When Kreizberg asked her to record with the Russian National Orchestra, she said yes, but privately wondered whether it would come to pass, knowing that such impulsive recording plans often disappear into thin air. Still after their last performance in Philadelphia, Kreizberg already had the dates and suddenly Fischer, who had not even decided whether she wanted to start recording regularly, had a three-year, seven-CD contract with PentaTone, the new high-tech Dutch label headed by former Philips Classics executives, and one of the first labels to embrace the new SACD 5.1-channel surround-sound technology. Although she still wavered, what decided her to sign on the dotted line was that all the concerto recordings would be conducted by Kreizberg.
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