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BRAHMS, J.: Violin Concerto / Double Concerto (Tianwa Yang, G. Schwabe, Deutsches Symphonie-Orchester Berlin, Wit)


Naxos 8.573772

   Fanfare, November 2019
   Diapason, October 2019
   Record Geijutsu, October 2019
   Record Geijutsu, October 2019
   Record Geijutsu, October 2019
   Record Geijutsu, October 2019
   Record Geijutsu, September 2019
   MusicWeb International, August 2019
   Fono Forum, August 2019
   Gramophone, August 2019
   BBC Music Magazine, August 2019
   My Classical Notes, July 2019
   Audio Video Club of Atlanta, July 2019
   AllMusic.com, June 2019
   MusicWeb International, June 2019
   The Classic Review, June 2019
   WFMT (Chicago), June 2019
   Classic FM, May 2019
   Pizzicato, May 2019
   David's Review Corner, May 2019
   MusicWeb International, April 2019

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Jerry Dubins
Fanfare, November 2019

…The Double Concerto is altogether better behaved. There’s general agreement between conductor, orchestra, and soloists; tempos are good; and Yang and cellist Gabriel Schwabe are well-matched both technically and tonally, with some especially nuanced, expressive exchanges between them in the second movement. The more I listen to this reading the more I like it. © 2019 Fanfare Read complete review




Jean-Michel Molkhou
Diapason, October 2019

Supported, again, by a precise and inspiring conductor, the two soloists join forces in a captivating dialogue. The consistency of the bows and the vibratos…as much as the balance between soloists and orchestra are a model of a kind. Superb. © 2019 Diapason



Shinichiro Okabe
Record Geijutsu, October 2019

Record Geijutsu Magazine review
(on Japanese version: NYCX-10067)

…Ms. Yang’s elegant violin clearly expresses her image of Brahms. From portamento to vibrato, detailed and big movements of articulation, her romanticism, her identity is heard all over. Vast expression throughout the development is a good example. Her delicate playing in the slow movement truly shows her at her best.

Coupling with Schwabe…Yang’s basic approach remains the same making their mutual chemistry create a new level of form…  Wit’s perceptive support in bringing out the orchestra at its best as well as its symphonic character should not be overlooked. © 2019 Record Geijutsu



Kiyoshi Tokiwa
Record Geijutsu, October 2019

Record Geijutsu Magazine review
(on Japanese version: NYCX-10067)

Warm and natural sound, easy-to-listen-to sound draws listeners to focus on the performance.

In the Double Concerto, the CD gives the advantage of letting you hear the cello details unlike in concert halls. The balance between the two solo instruments is impeccable. © 2019 Record Geijutsu



Hiro Aiba
Record Geijutsu, October 2019

Record Geijutsu Magazine review
(on Japanese version: NYCX-10067)

Ms. Yang plays her Violin Concerto…with ever changing colour in her vibrato…

Overall, it is well balanced and ideal. Wonderful performance! © 2019 Record Geijutsu



Kiyoshi Tokiwa
Record Geijutsu, October 2019

Record Geijutsu Magazine review
(on Japanese version: NYCX-10067)

Commendable Recording

There were 4 items with score of 92 points. I chose this album based on the level of difficulties required among others.

Based on my experience, it’s usually the case that concertos and symphony of large scale require technically higher production skills compared to that of small orchestral instrumental music and chamber music in order to produce music product of high quality.

Especially for concertos, in order to record high grade of purity, scale and depth suiting a performance, especially if multiple solo instruments are involved and which sound volume are significantly different. It is crucial to have many know-hows of experienced recording production in such cases. This CD was recorded in a church with an ideal acoustic environment that helped and natural and rich sounds of solo instrumental play are perfectly balanced with orchestral playing in vast space enabled accomplishment of this recording to be high quality product. © 2019 Record Geijutsu




Record Geijutsu, September 2019

Tianwa Yang’s violin concerto comes alive with her own tonal glow… Schwabe’s cello performance is relaxed without too much phrase expanding. A perfectly harmonised ensemble!… Their intimate ambiance is unforgettable… Wit brings out warmth within the symphonic grandeur of the Deutsches Symphonie-Orchester Berlin. © 2019 Record Geijutsu




Robert Cummings
MusicWeb International, August 2019

Tianwa Yang has arguably become recognized as one of the leading violinists of the younger generation along with Julia Fischer, Arabella Steinbacher, Vilde Frang, Ray Chen and perhaps a few others. In the Double Concerto she is joined by Berlin-born Gabriel Schwabe, a rising star who could well become Yang’s counterpart among young cellists. They are abetted here by the esteemed maestro Antoni Wit and the excellent Deutsches Symphonie-Orchester Berlin.

In every respect, these fresh and vital interpretations by Yang and Schwabe make this disc a complete success. © 2019 MusicWeb International Read complete review




Norbert Hornig
Fono Forum, August 2019

Young soloists are not to be envied when they present standard repertoire, which already have many excellent recordings. The competition is often overwhelming. Only the strongest… are able to broaden the horizon once again, to bring new expression, and to give the interpretation a significantly personal touch. Tianwa Yang is one of them. Her representation of the solo part is superb. Her accuracy, precision and clarity of articulation are phenomenal, but even more importantly here is the musical design, the coherent structure of the phrases, the view of the structural whole and the animation of each tone… The coupling with the double concert for violin and cello is not common, but attractive. With Gabriel Schwabe, Tianwa Yang has a supreme cellist by her side. They know each other from many joint chamber music performances. Their interaction in the concerto dialogue works very well… The DSO Berlin under Antoni Wit plays well, the proven acoustics of the Jesus-Christus-Kirche providing optimal support with its natural reverb… Ideal conditions that allow the featured soloists to fully flower. © 2019 Fono Forum



Mark Pullinger
Gramophone, August 2019

Tianwa Yang, who has eight impressive discs of Pablo de Sarasate under her belt for Naxos, is the violinist here, joined by the cellist Gabriel Schwabe and the Deutsches Symphonie-Orchester Berlin conducted by Antoni Wit. Recorded in the fine acoustic of Berlin’s Jesus-ChristusKirche

Antoni Wit keeps the flowing oboe theme of the Adagio on the move, with almost an andante feel to the pacing, beautifully matched by Yang; and their finale goes with a real swing, almost as exciting as Shaham’s gypsy rondo. © 2019 Gramophone Read complete review on Gramophone



BBC Music Magazine, August 2019

Performance: 
Recording: 

Yang and Schwabe play with a silky purity, sustaining intensity and momentum in the outer movements. © 2019 BBC Music Magazine



Hank Zauderer
My Classical Notes, July 2019

Neither instrument dominates in this work of reconciliation that perfectly features both drama and reflection. © 2019 My Classical Notes Read complete review



Phil Muse
Audio Video Club of Atlanta, July 2019

Chinese violinist Tianwa Yang has made continuous progress toward her stature as a world-class artist all through the past decade. She has finally arrived, gloriously, in accounts of two of the most rewarding listening experiences in all music. With the able assistance of Antoni Wit and the Deutsches Symphonie-Orchester of Berlin, she exults in Brahms’ Violin Concerto in D, Op. 77 and Double Concerto in A minor, Op. 102, two works to test any violinist’s artistry.

More sensual beauty awaits us in the Double Concerto, where Yang is partnered by cellist Gabriel Schwabe in a work in which the voices of the two instruments interweave, savoring glowing harmonies and blends. Ocasionally, they even extent one another’s lines, giving us the momentary illusion of a single instrument with an incredible range! © 2019 Audio Video Club of Atlanta Read complete review




James Manheim
AllMusic.com, June 2019

Yang here shows a new ability to introduce subtle shadings even in very quiet passages, and the overall effect is wondrous, miraculous. … Veteran conductor Antoni Wit and the Deutsches Symphonie-Orchester Berlin keep the complex machinery moving here, and the end result is enormously satisfying Brahms. © 2019 AllMusic.com Read complete review



Leslie Wright
MusicWeb International, June 2019

With good notes on the music and the performers this new disc contains some very enjoyable, even outstanding Brahms. In addition, Naxos’s attractive price makes this especially desirable.

The soloists and he select an ideal tempo, without hurrying, that is light on its feet. Fournier’s solo cello passage from about 1:30-2:00 is thrilling as he digs into his low notes. © 2019 MusicWeb International Read complete review



Tal Agam
The Classic Review, June 2019

Wit brings out the exquisite blend of all sections of the orchestra, and expertly encourage soloist from the group to shine, making these performances a fascinating give-and-take of ideas between ensemble, violinist and cellist. © 2019 The Classic Review



Lisa Flynn
WFMT (Chicago), June 2019

Brahms wrote his Violin Concerto for Joseph Joachim, and in it he combined what a contemporary critic termed ‘the great and serious’ with songful lyricism, melodic beauty, and a fiery Hungarian finale. To mend a breach with the violinist, Brahms later composed a concerto with the unusual combination of violin and cello, the latter played at the premiere by Joachim’s colleague Robert Hausmann. Neither instrument predominates in a work of reconciliation that embodies both drama and reflection. Highly acclaimed Naxos artists Tianwa Yang and Gabriel Schwabe are featured on this recording, as well as Antoni Wit, one of Naxos’ best-selling and best-known conductors. © 2019 WFMT (Chicago)



David Mellor
Classic FM, May 2019

This is an outstanding bargain, which would be competitive at full price, and is an absolute snip at bargain price, for a mid-2017 recording, with first class sound, featuring some outstanding musicians, and lasting over 70 minutes.

The violinist Tianwa Yang will be well known to regular Naxos listeners. She has won awards for her recordings of the music of Ysaye, Sarasate, and Mendelssohn, amongst other things. She is joined for the Double Concerto by the exceptional young cellist Gabriel Schwabe.

The orchestra, the Deutsches Symphonie from Berlin, is one of Germany’s finest, and they're conducted here by the veteran Antoni Wit, Poland’s most celebrated living conductor. © 2019 Classic FM Read complete review




Remy Franck
Pizzicato, May 2019

We knew that Tianwa Yang was one of the best violinists of our time. Now she has recorded the Brahms Concerto, and together with Gabriel Schwabe also the Double Concerto. Both are outstanding. Opus 77 is presented in an authoritative interpretation. Tianwa Yang plays very intensively and yet does not miss the necessary elegance. There is also something immediate and gripping in Yang’s playing that fascinates.

Antoni Wit knows how to masterfully embed this wonderful playing into the orchestral sound. With the Double Concerto, Yang, Schwabe and Wit present a magnificent, a wonderful, and thrilling performance. The music flows as Brahms must flow, and yet it remains wonderfully detailed, and there is a perfect interplay between the two soloists and the very alert orchestra and especially its wind soloists. For me, this is one of the very best recordings of the Double Concerto in the entire catalogue. © 2019 Pizzicato



David Denton
David's Review Corner, May 2019

It’s almost two decades ago I compared more than fifty available recordings of the Brahms Violin Concerto, David Oistrakh, on all counts, becoming my first choice. I remain wedded to his warmth and unfailingly satisfying interpretation, though many more recordings have appeared in recent times, including this one from the Chinese-born, Tianwa Yang, recorded two years ago. It has been rewarding to hear the young violinist mature over this past six years, from the sparkling purveyor of the music by Sarasate, to the performer who now confirms her credentials in the repertoire of the great Germanic Romantics. I had doubts listening to Antoni Wit’s spacious orchestral introduction, but neither is Wang in a hurry in allowing the music to unfold. In this respect she follows in Oistrakh’s footsteps, and I am equally convinced in her account of a central Adagio that leads to a finale full of vitality and faithful to the dynamic indications. The Berlin orchestra show their Brahmsian credentials throughout the disc, Wit pointing to so many details that are usually lost, while remaining ever faithful to the score. I am, however, much less certain of this Double Concerto, not that it lacks anything in technical accomplishment, but the first movement smoulders without, to my ears, ever bursting into flame. I guess that is the penalty of being brought up with the incomparable Isaac Stern/Leonard Rose recording made in my yesteryears. Certainly Yang and Gabriel Schwabe make for a well balanced partnership, even if they never dig into the music with an electrifying passion. The one point where this new release scores heavily over the competition is in the superb quality of the recorded sound made in Berlin’s Jesus-Christus Church. Recommended among recent releases. © 2019 David’s Review Corner



Rob Barnett
MusicWeb International, April 2019

…The Double is a work for which I have arrived at a very great affection. In Yang’s and Schwabe’s hands it here enjoys an incarnadine reading which benefits from a sweet close-quarters recording. What we hear evinces both concentration and brio.

Elder statesman Antoni Wit has been facilitating with Naxos for many years. He and the Deutsches Symphonie-Orchester Berlin work in commodious harness with the two soloists. © 2019 MusicWeb International Read complete review





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