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Lynn René Bayley
Fanfare, July 2015

Sahatçi’s violin tone is very sweet…and pianist Koukl follows [Tansman’s] Romantic bent in his richly chorded accompaniment[s].

…this is an album worth investigating. The music is quite different stylistically when going from piece to piece, but you get a fair idea of Tansman’s abilities and the way in which he handled different material for the violin. © 2015 Fanfare Read complete review




Stephen Wright
American Record Guide, July 2015

Highest recommendation for Sahatçi’s sensuous and sexy violin, recorded forward relative to the pianist, who also plays wonderfully. I’d love to hear more from these artists. © 2015 American Record Guide Read complete review on American Record Guide



David Patrick Stearns
Gramophone, June 2015

The performances here could hardly be better studied or more charismatic. No false sense of contemplation here. …this disc exists for more scintillating purposes. © 2015 Gramophone Read complete review on Gramophone



Ralph Graves
WTJU, May 2015

Violinist Klaidi Sahatçi and pianist Giorgio Koukl play these works with great sensitivity. Their expressiveness helps this music come alive. © 2015 WTJU Read complete review



Grego Applegate Edwards
Gapplegate Classical-Modern Music Review, May 2015

Sahatci has the expressive and technical means to pull off the violin parts impressively. Koukl has a dynamic and rhythmically acute knack to make his crucial role felt with real sympathy to the music. They form a team uniquely suited to the very diverse shifts in expression that are so much a part of this music.

The performances are just right and the music stands on its own as very well-crafted, generally inspired and increasingly original as Tansman came into his own. The music gives us much to appreciate. © 2015 Gapplegate Classical-Modern Music Review Read complete review



Steve Arloff
MusicWeb International, April 2015

It is of no surprise that [Giorgio Koukl] makes such a sympathetic partner here in music that treats each musician equally. What came as a real surprise is…the violinist Klaidi Sahatçi…[and] what an accomplished musician he is with a prodigious talent. His powers are in full evidence here whether he is called upon to command the proceedings or play with feather-like gentleness. Each of them helps present this wonderful music in the best possible light. I sincerely hope there is more of Tansman’s music for this combination to be discovered and that these two musicians will be playing it. © 2015 MusicWeb International Read complete review



David Denton
David's Review Corner, March 2015

The music of the Polish-born Alexander Tansman seems to have fallen from the edge of the concert repertoire, recordings are the only way to gain his acquaintance. During his lifetime he enjoyed much admiration in his adopted French home, his early works largely influenced by Scriabin and Szymanowski overlaid with the sensual sounds of the French Impressionists. His music for violin and piano is now seldom played, so it is not surprising to find that four of the works included are receiving their first recording. Spanning the years 1917 to 1963 the disc evinces his gradual move towards a version of tonality modified by the influences of atonality, a quality finally reached in the 1963 Fantaisie. Chronologically beginning in 1918 before his departure for Paris, the short Romance is steeped in the style of early Scriabin and became a precursor of the four movements of the Second Violin Sonata. That he was an outstanding pianist is reflected in the important and demanding role given to the keyboard. Maybe it was his desire to fashion long flowing melodic invention that requires that it takes time to place the sonata in our memory bank, though it will make a pleasant impression on first acquaintance, particularly in the skittish scherzo. The ‘naughtiness’, that was highly fashionable in Paris, had made its mark on Tansman’s harmonic language for the 1924 Sonate quasi una fantasia. The result is an immediately engaging score, the last movement having a jazzy atmosphere that immediately reappears at the opening of the First Sonatine, better known in its version for flute and piano, the two scores written at much the same time. The Second Sonatine came fifteen years later, its content totally pleasing and uncomplicated. The performances ooze with a rich beauty of tone from Klaidi Sahatci’s Stradivarius violin, the concertmaster of Zurich’s Tonhalle Orchestra having impeccable technique and immaculate intonation. He has an outstanding partner in the pianist, Giorgio Koukl, and the recording perfectly balances the instruments. © 2015 David’s Review Corner





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