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Terry Robbins
The WholeNote, November 2019

Rihm’s music is not always immediately accessible, but these works are engrossing from start to finish with some truly beautiful moments, especially in the lengthy COLL’ARCO, which with its hints of Alban Berg often sounds like a violin concerto from the Second Viennese School.

Yang is, as usual, simply brilliant in music that makes great technical and interpretative demands. © 2019 The WholeNote  Read complete review

Dr. J├╝rgen Schaarw├Ąchter, October 2019

Yang succeeds without imitating but rather expressing a unique stamp to the music. © 2019

The Strad, July 2019

Recorded sound is superb, with Yang both embedded within the ensemble and emerging as a spot lit soloist as required. © 2019 The Strad

Lothar Brandt
Audio (Germany), July 2019

The works of Wolfgang Rihm (born 1952) for violin and orchestra are in good hands with the exceptional violinist Tianwa Yang and the Deutschen Staatsphilharmonie… Highest recommendation. © 2019 Audio (Germany)

Allen Gimbel
American Record Guide, July 2019

There is a mysterious march interrupted by the cosmos and some violent slaps. The violin is mostly expressive in the romantic sense…

Violinist Yang is formidable. © 2019 American Record Guide Read complete review on American Record Guide

Review Corner, June 2019

Lichtes Spiel (“light play” or “child’s play”) was subtitled A Summer Piece and Rihm intended “something light, but not lightweight,” say the sleeve notes. It is more conventional than the opening piece, if not playful in places. The opening section continues where the first leaves off before the mood lightens and it almost becomes pastoral. The third piece Coll’arco (“With the bow”) clocks in at 30 minutes and is somewhere between the two, the violin again at the high end and the orchestra providing texture, neither as minimalist as the opener or as user-friendly as the second piece.

This is a programme that needs some effort, but it is rewarding and atmospheric…  © 2019 Review Corner Read complete review

The Congleton Chronicle, May 2019

It is rewarding and atmospheric. © 2019 The Congleton Chronicle

Stephen Barber
MusicWeb International, May 2019

RIHM, W.: Violin and Orchestra Music, Vol. 1 (Tianwa Yang, Rheinland-Pfalz State Philharmonic, Mueller) 8.573812
RIHM, W.: Violin and Orchestra Music, Vol. 2 (Tianwa Yang, Rheinland-Pfalz State Philharmonic, Darrell Ang) 8.573667

The orchestral playing by the Deutsche Staatsphilharmonie Rheinland-Pfalz is assured and powerful. Both conductors, though new to me, have good track records and seem thoroughly in command of their forces, and the recordings are excellent. © 2019 MusicWeb International Read complete review

Records International, April 2019

“Time Chant” (1991-92) begins and ends ethereally, emerging into and departing from consciousness almost imperceptibly. The violin’s sustained soliloquy is present throughout, first meditatively, later as a sombre threnody, with a more agitated dialogue with denser orchestral textures in the central part. A feature of this work, and of Rihm’s large-scale orchestral works in general, is the way in which tense, discursive modern thickets of complexity suddenly open out into vistas of late-romantic soundscapes, to stunning effect. © 2019 Records International Read complete review

David Denton
David's Review Corner, March 2019

This is the second disc in a projected recording of the complete works for violin and orchestra from the present-day German experimentalist composer, Wolfgang Rihm. He is currently composing a series of works called, Music fur violin und Orchester, and here we have the Second and Fourth, the disc opening with the Second (Gesungene Zeit) at a dynamic approaching pppppp, so don’t worry, something is happening. It then requires the soloist to play throughout the whole work that takes us on a detailed and intellectual discourse between the soloist and orchestra in one long paragraph lasting almost twenty-eight minutes. It reaches its dynamic climax with the timpani and percussion making dramatic entries, before the music goes one level higher in impact before subsiding to the peace of the opening. Completed in 1991, it came sixteen years before the Fourth entitled COLL’ARCO, and indicates this is to be a smooth score, though it opens with a ‘ping’. It is Rihm’s most extended score for violin and orchestra, in this performance lasting almost thirty-one minutes. It is also huge in orchestral demands to fuel enormous climatic passages, the violin part often pitted against the orchestra, its continued activity a strenuous prospect that Tianwa Yang admirably fills. Between those two works we have the Lichtes Spiel (Ein Sommerstucke) which, in translation, means Light Play (‘A Summer Piece’). A relatively lightly scored piece, it might be an ideal place to take you into the world of Rihm. As I commented in my review of the first disc (8.573812), the young violinist, Tianwa Yang, is here moving a long away from the musical world that has brought her previous Naxos discs so many critical plaudits. My admiration also goes to the conductor, Darrell Ang, who, together with the German orchestra unravel Rihm’s complex scores. Equally my admiration to the engineers for the internal clarity. © 2019 David’s Review Corner

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