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Robert Markow
Fanfare, November 2016

Performances of the Chen works go well beyond dutiful; they are played with great refinement and beauty of tone, and led by a conductor, Taiwanese Shao-Chia Lü, who obviously believes in these works. © 2016 Fanfare Read complete review

Kraig Lamper
American Record Guide, September 2016

The power and might of the full orchestra are harnessed only for the biggest of moments—and is done splendidly. © 2016 American Record Guide Read complete review on American Record Guide

Bradley Winterton
Taipei Times, July 2016

This is in every way a very attractive CD. © 2016 Taipei Times Read complete review

Review Corner, May 2016

This is a remarkable album, successfully combining the sound of English pastoral music with traditional Chinese—from Vaughan Williams to the music from an arty martial arts movie—and played in a way that sounds alternatively intimate and imposing, and cinematographic in places. The end result is highly palatable…

This is an entertaining and accessible CD, the sections of Chinese music giving it an exotic feel while still having something quite English about it. © 2016 Review Corner Read complete review

Brian Wilson
MusicWeb International, May 2016

…though the music is very enjoyable, it’s in a predominantly Western mode rather than the East-meets-West that I had expected. Er Huang, for example, may be based on Chinese themes but it sounds more like Ravel in his quieter mood: think of Daphnis et Chloé. Enchantements oubliés is equally beautiful—often dreamily so—but the beauty is combined with a full-size orchestra sometimes in a more impassioned mood. © 2016 MusicWeb International Read complete review

David Denton
David's Review Corner, April 2016

Olivier Messiaen described his last pupil, Qigang Chen, as a ‘very great talent who has a total assimilation of Chinese thinking within European musical concepts’. Having now spent most of his life in the Western world where he has produced major orchestral scores to commissions from both sides of the Atlantic, it is fascinating to hear how he has totally married Messiaen’s special musical influences into his scores. Now aged sixty-five, the present release covers music written over the last sixteen years, all receiving their world premiere recording. He writes in a purely tonal style, looking to create melody, Er Huang uses those that were once popular in Peking operas, works that are now unthinkably lost in his homeland to the all pervasive pop culture. It is scored for piano and orchestra, the mood not a million miles away from the era of Hollywood film ‘concertos’. Enchantements oubiles, for strings, harp, piano, celesta, timpani and percussion, largely shakes off his birthplace, the work being one of sumptuous sounds in a creative process that he describes as ‘seemingly taking him where it wanted’. I can imagine that, as we pass through vistas each as alluring as the previous one, the work ending in peaceful sleep. Un temps disparu is a version for the two-string Chinese fiddle, the erhu, of a previous work for cello and orchestra, the composer adding, in his programme notes, that the change of instrument would face the soloist with virtuoso demands. As its title suggests, it is a look back at times that are no more, and ending on a note of sadness. To the innocent ear you would think of it as a Western violin, the world famous virtuoso, Jiemin Yan, producing some very special and beautiful sounds. Throughout the disc the Taiwan Philharmonic is largely called upon to provide slow moving appealing sounds and they fulfil that role perfectly in a recording quality that falls gratifyingly on the ear. © 2016 David’s Review Corner

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