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Raymond Tuttle
Fanfare, March 2016

There is plenty of creativity here, but no gimmicks or clichés. The orchestra is a first-class ensemble, and conductor Lü knows his way around the music, leading it with confidence and skill.

Highly recommended! © 2016 Fanfare Read complete review

Bradley Winterton
Taipei Times, February 2016

Yang Wen-Sinn (楊文信) plays with notable decisiveness throughout.

This isn’t an instantly recognizable sonic world, but rather an amalgam of various modernistic elements. © 2016 Taipei Times Read complete review

Roy Westbrook
MusicWeb International, January 2016

The orchestral colours are alluring and the cello solo is wide-ranging, idiomatic. It has quite a few challenges for the player—all of which cellist Wen-Sinn Yang has mastered. His dazzling virtuosity serves the work rather than the other way around.

The performance of the excellent Taiwan Philharmonic under Shao-Chia Lü is certainly persuasive and sounds committed throughout. © 2016 MusicWeb International Read complete review

David W Moore
American Record Guide, January 2016

The orchestra plays well and is recorded clearly and resonantly. © 2016 American Record Guide Read complete review on American Record Guide

Robert Cummings
Classical Net, October 2015

The performances by the Taiwan Philharmonic under Shao-Chia Lü are spirited and fully committed, and the cello soloist, Wen-Sinn Yang, plays brilliantly and with great feeling in the concerto. …These are premiere recordings of works by a composer of more than passing significance. The sound reproduction by Naxos is excellent. Those with an interest in late 20th and early 21st century music of an approachable character should find this disc satisfying. © 2015 Classical Net Read complete review, October 2015

Concerto No. 1 is an essentially tonal work whose three movements progress from intensity to concluding sadness… Wen-Sinn Yang…tackles this technically demanding piece with playing that shows strength and a very considerable dynamic range—which the music requires. The Taiwan Philharmonic under Shao-Chia Lü does a fine job of support and balance… © 2015 Read complete review

Gary Higginson
MusicWeb International, October 2015

…the Cello Concerto…acts as a superb platform for the powerfully projected tone of its dedicatee Wen-Sinn Yang aided by the brilliantly evocative interpretation of Shao-Chia Lü’s orchestra.

The recording, which is of an excellent quality, enhances the whole effect of the often disturbing musical journeys found in both works. © 2015 MusicWeb International Read complete review

Remy Franck
Pizzicato, October 2015

Gordon Chin writes a very dramatic music, and with his excellent orchestra Shao-Chia Lü responds to it with powerful performances. © 2015 Pizzicato

Bruce Reader
The Classical Reviewer, September 2015

Wen-Sin Yang and the Taiwan Philharmonic under Shao-Chia Lü give a terrific performance.

Of all the Chinese music I’ve listened to lately this disc proved the most enthralling and worthwhile. The recording is excellent… © 2015 The Classical Reviewer Read complete review

Robert Benson, September 2015

The Cello Concerto…deserves attention from all cellists. …this performance is outstanding showing Wen-Sinn Yang as a master of his instrument. The performance [of the Symphony] is outstanding, recorded sound state-of-the-art stereo. Thank you, Naxos! © 2015 Read complete review

David Denton
David's Review Corner, August 2015

Born in Taiwan in 1957, Gordon Chan has built a most impressive portfolio of works in many genres, including four symphonies and a number of concertos. Though he has spent most of his life in his native country, his formative years took him to Japan and North America, and it was his musical education in the States that has shaped his stylistic qualities that sit in a modern view of tonality. Without in any way inferring influences, I would give as a guide the world of Penderecki in his recent return to tonality. A big and bold Cello Concerto completed in 2006 is in a three-movement structure, each prefaced with a literary quotation used to shape the music. It is certainly a test of the soloist’s technique, just as we find in Shostakovich first cello concerto, and is no less a challenge to the orchestra, the opening movement reflecting Shakespeare’s words, “When we are born, we cry that we are come to this great stage of fools”. The superb soloist, Wen-Sinn Yang, was for many years the principal cellist of the Bavarian Radio Symphony Orchestra, his big and impressive dynamic range ideal for a score that ends in poignant sadness. The Third Symphony, which pictures the turbulent history of his birthplace, uses, according to the sleeve note, an ‘array of exotic Chinese percussion instruments’… What we do have is a colourful and often hard-hitting score that makes demands on the brass department and a battery of conventional percussion instruments. The finale employs material from these two movements interwoven into passages of hope and beauty. Chin is a most impressive composer; the Taiwan Philharmonic bristling with modern virtuosity and the recording has a massive dynamic range. © 2015 David’s Review Corner

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