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Rob Haskins
American Record Guide, November 2017

The orchestra plays beautifully and the recording has depth, presence, and brilliance. © 2017 American Record Guide Read complete review on American Record Guide

Records International, July 2017

These concerti are markedly different from one another, yet all share a masterful sense of color and gripping drama. Qin's idiom is far from conventionally tonal, yet the overwhelming impression left by these works, especially the two for western solo instruments, is of Romantic concerti with the philosophical drama and rich atmosphere associated with such pieces. The Violin Concerto and that for cello are both in a traditional three-movement framework. © 2017 Records International  Read complete review

David Denton
David's Review Corner, June 2017

Born in Inner Mongolia in 1966, Wenchen Qin studied composition in China before completing his education in Europe, and there he has found considerable success. Though the notes that come with the disc would stress his connection with the folk music of his homeland, it is at the forefront of a modernity that we find in much of the music on this disc. It is fashioned in a world of atonality, the opening movement of the Violin Concerto often brutal in its orchestral outbursts that have connections with the extreme avant garde Polish and Russian composers in the late 20th century. The solo violin remains a lone voice trying to be heard like a lost soul in a strange world, and in the final bars it dies in peace and quietness. The Cello Concerto came four years earlier in 2008 and is also in three movements given the name Dawn, Wind and Fire, the music a recreation of those visions. Again it is created by atonality, the cello a more potent presence than the soloist in the Violin Concerto, and shows his virtuosity in the brilliant finale. Both Mengla Huang and Li-Wei Qin were born in Shanghi, Huang completing his violin studies in London, while Qin moved to live in Australia as a young boy and musically graduating there. Both enjoy a major presence on both sides of the Atlantic, Qin playing a gorgeous Joseph Guadagnini cello of 1780. In Western terms the Suona is a double-reed woodwind akin to a shawm, and is here pictured as the mythical Phoenix who flies to the sun. Here the composer is more kind to the solitary musical voice of Qianyuan Zhang, while the Austrian Radio Orchestra and their conductor, Gottfried Rabl, is kept under fetters. The massive dynamic range required is captured in an outstanding recording. © 2017 David’s Review Corner

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