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SARASATE, P. de: Violin and Orchestra Music, Vol. 2 (Tianwa Yang, Navarre Symphony, Martinez-Izquierdo)

Composer(s):Sarasate, Pablo de
Artist(s) Martinez Izquierdo, Ernest, Conductor • Navarre Symphony OrchestraYang, Tianwa, violin
Period(s) Romantic
Genre Classical Music
Category Concertos
Catalogue 8.572216
Label Naxos
Quality   320kbps
Album Price
USD 7.99

USD 6.99


Dazzlingly virtuosic fireworks, spirited passion and astonishing technique combine in the youthful Chinese violinist Tianwa Yang who leaves the critics grasping for superlatives whenever she plays. In this second volume of Naxos’s cycle of Sarasate’s complete works for violin and orchestra she again teams with the orchestra founded by the legendary Spanish violinist-composer in 1879 to present two of his orchestral masterpieces, the famous Carmen Fantasy and the sadly neglected Romeo and Juliet Fantasy, as well as several other utterly delightful, and fiendishly difficult, concert pieces.


Review By Diapason,September 2012


Review By Steven J Haller,American Record Guide,March 2011

Our Editor sent me Volume 2 of Tianwa Yang’s Sarasate survey for review, but I do not own Volume 1. Fortunately through my subscription to, I was able to download it online and hear for myself why three different reviewers including Mr Vroon have already heaped such immense accolades on Ms Yang’s phenomenal artistry, including two earlier volumes of Sarasate’s music for violin and piano. “Wonderful new recordings are still made, and this is one of them”, Mr Vroon wrote of her Spanish Dances accompanied by pianist Markus Hadulla; in turn Elaine Fine found in her playing a remarkable clarity and purity even unto the point of perfection on hearing the set of operatic

My favorite piece by Sarasate is still Zigeunerweisen, and my jaw dropped at her absolutely astonishing technique in the concluding friska that might even have Sarasate exploding in applause with the final flourish—she really makes the rosin fly at a pace that for anyone else would surely seem reckless, and yet she carries it off like the simplest of student exercises—indeed I could only nod vigorously in agreement with Lawrence Hansen’s assessment: here indeed is “a maturity and depth…a substance, subtlety, and nuance” unexpected from a young violinist who was only 17 when she began her Naxos survey—what wonders might lie ahead? (And as if that weren’t incredible enough, she set down all 24 of the Paganini Caprices at the age of 13. “This girl is scary”, wrote Mr Magil back in May/June 2002.)

On listening first online to Volume 1 (through the dinky 2” speakers that came with my computer) and then Volume 2 using my standard setup, there really isn’t much I can add to that. If there’s a violin “trick of the trade” that Sarasate failed to make use of, I can’t imagine what it might be, short of having Ms Yang stand on her thumbs as the notes claim the Belgian virtuoso Cesar Thomson used to do in concert; and if she ever misses a beat or comes up short, I sure couldn’t hear it. You gotcher double, triple and for all I know quadruple stops; you gotcher Paganini-style harmonics that Ms Yang dispenses like spun sugar; you gotcher balalaika effects (in the Canciones Rusas or “Russian Songs”, one of them—unbeknownst to the annotator apparently—also employed by Stravinsky in Petrouchka); and of course in Canto del Ruiseñor (Song of the Nightingale) you have the novelty (for Sarasate) of a simple, unadorned bel canto line that Ms Yang sets forth in suitably effusive manner. That same bel canto manner serves Sarasate well in the fantasy on Gounod’s Romeo & Juliet; the far more familiar Carmen fantasy fills out the tempestuous heroine’s best loved melodies in great swaths ofmore....


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