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Lynn René Bayley
The Art Music Lounge, March 2017

[Tianwa Yang] plays all this music like an expert gymnast showing the wannabes how to flip on the balance beam and land on one foot as if in their sleep. She maintains poise regardless of speed or difficulty. I’m sure that getting these works under her fingers took hours and hours of practice, but her smooth delivery keeps the “yes, but” factor out of the way. She exudes a command bordering on relaxation, even in the trickiest passages, yet her emotional ties to the music are always at or hear a white heat. Thus does she present us with these six crown jewels as if she were offering us a piece of her own soul. © 2017 The Art Music Lounge Read complete review




Joseph Magil
American Record Guide, November 2014

You can’t go wrong with [this] set…[and] Yang takes…care shaping each sonata’s profile. © 2014 American Record Guide Read complete review on American Record Guide



Terry Robbins
The WholeNote, September 2014

Tianwa Yang’s… faultless technique enables her to delve deeply into the heart of these remarkable sonatas…certainly one that you’ll want and will keep going back to. © 2014 The WholeNote Read complete review



Andrew Morris
International Record Review, September 2014

…Yang’s is something special. This disc follows a number of very impressive releases for Naxos, confirming Yang as a real find for the label…she is totally at ease with the difficulties, but what makes her view of these pieces more appealing is the sense of finely textured fantasy that she achieves—an integral part of Ysaye’s musical character.

In a crowded field, Yang’s performance can hold its head high…Yang has on her side a certain interpretational individuality…Where Yang goes next will be fascinating: judging by this and previous releases, I’ve heard enough to convince me that hers is a star that should rise high indeed. © 2014 International Record Review



Caroline Gill
Gramophone, August 2014

…the tuning is perfect, and it is a mature, assertive and compelling performance that honours these sonatas as much more than the study pieces they are often labelled. It is a beautifully polished recording… © 2014 Gramophone Read complete review on Gramophone



Barry Forshaw
Classical CD Choice, July 2014

…[disc] showcases Tianwa’s skill, dexterity, and artistry. © 2014 Classical CD Choice Read complete review




Edward Bhesania
The Strad, July 2014

…what makes this release so distinctive is Yang’s unfailing purpose: every note counts, even within the densest thickets of finger-contorting contrapuntal lines, with the result that one can’t help but devour the disc in a single sitting.

…these are clearly thought-through performances of eyebrow-raising substance. © 2014 The Strad




Julian Haylock
BBC Music Magazine, July 2014

Fresh from her recorded triumphs in Sarasate and Mendelssohn, Tianwa Yang negotiates the musical and technical chicanery of Ysaÿe’s six solo Sonatas with great aplomb. Even bearing in mind outstanding accounts by Philippe Graffin (Hyperion), Kristóf Baráti (Brilliant), Samika Honda (Polymnie) and Henning Kraggerud (Simax), Yang’s rare ability to sustain a convincing emotional narrative in these elusive scores proves highly compelling. Completely unfazed by Ysaÿe’s near-constant Bachian cross-referencing and mild harmonic astringencies, she moulds even the most challenging of phrases with a dedicated sensitivity and affectionate warmth. © 2014 BBC Music Magazine



Infodad.com, June 2014

[Yang’s] playing is fluid, technically proficient, musically knowing and altogether winning. The Ysaÿe sonatas stand, nearly a century after they were composed in 1923, as monuments to seven great violinists—the seventh being their composer. In [Yang’s] performances, they sing at the highest level. © 2014 Infodad.com Read complete review




Remy Franck
Pizzicato, June 2014

Tianwa Yang’s colors are gorgeous, her nuances magical. Not technique (though she is technically flawless), but expression is her first concern. So, with her rich musicality, she becomes a fascinating narrator in Ysaÿe’s masterworks. © 2014 Pizzicato



David Denton
David's Review Corner, May 2014

You either make plain to the listener the fiendish difficulties you are surmounting, or you brush them aside just to show how much you are in technical command. The outstanding Chinese violinist, Tianwa Yang, takes the latter option and in so doing finds a greater musical value in each sonata than we normally encounter. Her tempos are generally spacious…They do allow her to muse in the slower passages, almost as if playing for her own enjoyment, while at the same time savouring the beauty of the music. Those tempos also bring an increased clarity to such passages as the fugue in the second movement of the First Sonata. Bowing technique is exemplary, as you find in the evenness of her quiet crossed strings in the opening of the Second Sonata, while I have never heard the Malinconia second movement sound so sad, or the following Dance of the Shades so wistful. The dexterity of her left hand and impeccable intonation in passages of double-stopping is demonstrated in an exciting account of the final Les furies. Magical moments in the soft passages of the Third; much affection in the Fourth, with a suitably whirlwind finale; a leisurely Dawn and unhurried Rustic Dance in the Fifth, with the ebb and flow of the Sixth nicely captured. In sum, performances for those more interested in the music within the sonatas rather than easy thrills. © 2014 David’s Review Corner





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