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Rob Barnett
MusicWeb International, November 2011

The Chamber Symphony No. 3…writing is tremendously powerful and virtuosic. The style has that sinuous oriental caramel quality. It is driven home by stark and hoarse writing redolent of Shostakovich’s string symphonies and Bartok at his most turbocharged and insolent.

Bardanashvili[’s]…Piano Concerto…is played here in leonine style by the composer’s friend, the Georgian pianist Alexander Korsantia.

Zinzadse’s Miniatures come along as the equivalent of one of Beecham’s bonne bouches designed to send the audiences home soothed. These are relaxation after so much high tension torment in Nassidse and Bardanashvili. The writing is suave, light on the palate, witty, oriental in accent, sensitive, delicately pointed and enchanting.

The instant and captivating winner here is the Zinzadse…The other two pieces also impress for their impetuosity and heroic fury. Read complete review

Roger Hecht
American Record Guide, November 2011

Korsantia handles the difficult Bardanashvili with aplomb and sensitivity.

To read the complete review, please visit American Record Guide online.

James Manheim, September 2011

These are delightful little folkloric pieces, completely tonal, that lose nothing in audience appeal for having adhered to the official Soviet guidelines of the time. The music is of uniformly high quality, and some listeners will find it’s worth the purchase price just to hear the variety of sounds that issue forth from the string section of the Georgian Chamber Orchestra of Ingolstadt, a Georgian expatriate group in Germany, conducted by an Israeli, Ariel Zuckermann. A superior release of music that’s almost unknown outside its native country.

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