New York Times, August 2016:

The stylish conductor Thierry Fischer opened the concert with Haydn’s crackling Symphony No. 59 in A (“Fire”) and ended with a fleet, lean account of Mozart’s darkly intense Symphony No. 40 in G minor.

New York Classical Review, August 2016:

Fischer extracted a surprising range of colors from the Mostly Mozart Festival Orchestra..[and] took nothing for granted. In Mozart Piano Concerto No. 25 Fischer masterfully encourage[ed] the orchestra in light and dark episodes. After the light and shade of the concerto, it was a tribute to Fischer that Mozart’s evergreen Symphony No. 40 proved as engaging as it was. Fischer took the opening rivulets seriously, making them fresh and slightly mysterious…lifted the Menuetto up from potential torpor…in the finale, when the familiar motif sneaks in at every opportunity, Fischer found genial humor and made each reappearance count.