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John J. Puccio
Classical Candor, September 2014

…this is volume four in a series…[and] Yang’s playing is so felicitous it’s hard not to want to hear more. This is a delightful album in every way: good music, a good soloist, good accompaniment, and audio reproduction that is up to the task.

…the violin has a pleasantly smooth, rounded sound that is pleasant to hear…The orchestra appears spread out behind the soloist in a fairly resonant acoustic that provides a pleasing ambient glow for the music making. Clarity, dynamics, and frequency response are all more than adequate for the occasion and offer further satisfaction by way of easy listening. © 2014 Classical Candor Read complete review

David Hurwitz, June 2014

…Tianwa Yang plays all of this music with her by now customary virtuosity and finesse. The two Jotas have plenty of gusto, while the concluding L’Esprit follet constitutes a miracle of lightness and fairytale atmospherics. As with the previous releases, Yang is very capably accompanied by Ernest Martínez Izquierdo at the helm of the orchestra that Sarasate himself founded, and Naxos’ sonics flatter the performers. © 2014 Read complete review

Robert Maxham
Fanfare, March 2014

Tianwa Yang’s exciting series of Pablo Sarasate’s music for violin and orchestra…comes to an end with this fourth volume…The program opens with the Introduction and Tarantella…This performance by Yang…smoldering and coruscating, additionally may reveal to some listeners, in Ernest Martínez Izquierdo’s accompaniment with the Orqesta Sinfónica de Navarra, not only an additional brilliance in the violin part, but also a skillfully wrought orchestration that enhances the work’s ethnic vibrancy.

…La ci darem la mano should be equally familiar to many listeners; and Sarasate embellishes it in his own unmistakable way, by turns liquidly brilliant and hauntingly insinuating. Yang delivers the aria-like themes with a rich, smooth tone.

L’Esprit follet brings the program to a close in a performance that’s both fey and affecting.

The engineers have captured Yang up flatteringly close, but they’ve lost none of the orchestral detail. Urgently recommended, like the rest of Yang’s series…to listeners of all kinds. © 2014 Fanfare Read complete review

Elaine Fine
American Record Guide, March 2014

I love the way Yang plays Sarasate, and I love the way these pieces sound with orchestra.

Her playing here and the playing of the orchestra is just as great as it is on the other three volumes. © 2014 American Record Guide Read complete review on American Record Guide

John Whitmore
MusicWeb International, February 2014

…I challenge anyone to pick holes in the performances on offer here by Tianwa Yang. I simply can’t imagine this tuneful, technically demanding music being played any better than this. Full marks and a fitting finale to a great series. © 2014 MusicWeb International Read complete review

Brian Reinhart
MusicWeb International, December 2013

Violinist Tianwa Yang is here to take us on another first-class ride down the Sarasate Express.

This is the last orchestral instalment of the series…The playing is here as perfectly matched to the composer as it was in the previous volumes: big, warm, romantic tone, luxurious treatment for all the melodies, and a virtuosity so easy that the word “easy” somehow seems insufficient.

At any rate, Naxos’s choice of pairing her with Sarasate was always inspired. Here she gets some lesser fare and makes it all sound lovely, from the Don Giovanni fantasy…to the rather more interesting fantasy on Weber.

The Navarra Symphony continues to be an adequate backing band, and the sound quality is as good as ever. Collectors of this series should rejoice… © 2013 MusicWeb International Read complete review

Remy Franck
Pizzicato, December 2013

Great end to a series © 2013 Pizzicato

Terry Robbins
The WholeNote, November 2013

Yang’s playing is absolutely top-notch throughout, with some outstanding double-stopping and immaculate bowing.

The orchestral support is…of the highest calibre, and stylistically perfect… © 2013 The WholeNote Read complete review, November 2013

These are Sarasate’s fantasies based on Mozart’s Don Giovanni and Weber’s Der Freischütz, each an effective display piece but also a work showing considerable understanding of the themes of the operas—and in the case of the Weber fantasy, incorporating a “flying staccato” technique that has to be heard to be believed. One of Sarasate’s trademarks, this technique is brought off brilliantly by Tianwa Yang, whose light touch and manual dexterity work particularly well in music that was, after all, designed primarily as showpieces shining a spotlight on their super-virtuosic composer/performer…every work that Yang plays here has delights…The Orquesta Sinfónica de Navarra under Ernest Martínez Izquierdo gives excellent support to Yang throughout the disc, allowing her the front-and-center position that Sarasate intended while providing solidity and just enough sense of gravitas to turn these mostly light works into pieces with considerable heft, if not a great deal of profundity. © 2013 Read complete review

David Denton
David's Review Corner, October 2013

The young Chinese violinist, Tianwa Yang, continues her remarkable display of virtuosity in the complete ‘Music for Violin and Orchestra’ by Pablo Sarasate. He had been one of the great virtuosos of his generation, writing works of such difficulty as to restrict their use to the composer and a handful of his contemporaries. His showpieces were littered with every ‘trick of the trade’ known to violinists, the sheer brilliance required titillating audiences. Nowhere was that more apparent than in his fantasias on melodies from popular operas that he decorated with outrageously difficult passages. Technique is more openly demonstrated in the Der Freischutz score based on the opera’s overture, passages of difficult double-stopping abounding, though this is easy compared with the feats of brilliance required for the fiendish difficulties of the Jota de Pamplona, and the skittish Scottish Airs. In a complete change of mood we have the delicate tracery of the violin around the quiet sounds of Le Reve, before Yang mesmerises with the agility of her left hand in L’Esprit follet. To this staggering display the Orquesta Sinfonica de Navarra conducted by Ernest Martinez Izquierdo add a colourful and mindful accompaniment. Very good sound quality and fervently recommended. © David’s Review Corner

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