” Tianwa Yang is a sensationally talented young violinist ” …. ” The most important new violinist to come on the scene in many a year” …. ” one of the most sensational violin talents of the new century ” …. ” A player of great resource ” …. ” it is the musician ship that is the prime focus ” …. ” Tianwa Yang is a name to look out for ” …. ” stunning, effortless virtuosity ” ….  ” Yang proves simply inimitable ” ….” sleek and polished ” …. ” depth of her emotional expression and the rich colors of her sound ” …. ” Tianwa Yang is quite remarkable ” …. “an extraordinary violinist ” ……. “this young woman could outplay the devil “….. “a maturity and depth, a substance, subtlety, and nuance ” …. ” Yang rises above her competition ” …. ” razor-sharp technique and tonal elegance ” …. ” winner of the Pizzicato  Supersonic Award 2011 ” …. ” winner of two Diapason d’Or 2012 “….

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. Rémy Franck Pizzicato

it boasts a near-ideal soloist in Chinese violinist Tianwa Yang, who plays with astonishing precision and vigour throughout, as well as with what’s clearly a profound engagement with this sometimes forbidden music ( Rihm. Music for Violin and Orchestra Vol. 2 / Naxos ). Yang maintains a piercing clarity in the stratospheric, sine-wave-like tones of Lichtzwang ( 1976), an uncompromising work that pits the defiant soloist against often unrestrained violence from the orchestral brass and percussion. Yet there’s a dark sense of lyricism to Yang’s impeccably sculpted phrases, and a sense of her energy spent by its desolate conclusion…. Yang brings a wonderfully slithering expressivity to its unpredictable mood shifts ( Dritte Musik ). She’s immensely detailed too .. with vivid results. Gedicht des Malers draws a glorious sense of rhapsodic fantasy from Yang, who makes her 1730 ‘del Gesu sing sweetly in its seemingly endless arching melodies David Kettle The Strad

“While the Beethoven ( Violin Concerto ) offers ample opportunity for virtuoso display, Yang seemed to focus more on its emotional layers, its musical message. While it’s among the most popular in the repertoire, Yang delivered it with a sense of newness and awareness. Evident was her sweetness and security of tone, most especially in the upper realms where nothing was forced or strained. Her perfectly placed sounds soared whether in whisper quiet moments or those more full voiced. And, despite her cerebral approach, one could not ignore her brilliant, flawless technique. From the flowing Allegro with its pervasive drama, to the Larghetto’s inspired lyricism and gentleness that approached reverence, to the spirited dance-like Rondo, Yang masterfully delivered the goods in full. For an encore she offered Eugene Ysaye’s “Malinconia” movement from his Second Violin Sonata, which was spellbinding, the seemingly simplistic lines belying the extreme difficulty of the work’s fingerings.” John Shulson Virginia Gazette

Tianwa Yang, one of the most talented violinists of our time, delivers a sparkling and truly exciting account of Lalo’s Smphonie Espagnole, very well supported by the Barcelona Orchestra and conductor Darrell Ang. This brings it definitely to the top of the available recordings of this brilliant work. Later they team up for a no less recommendable version of Joan Manén’s Concierto Espanol. Winner of Supersonic Award. Rémy Franck Pizzicato

Florida Orchestra shines, but it is still all about violinist, Tianwa Yang. Is it the quality of tone, superior interpretation, technical mastery, something else? Whatever that “It” factor is, Tianwa Yang has it, in the eyes of the music world. Yang’s palette is vibrant. She handles every part of the instrument, on every level of intensity. She attacks entrances fearlessly and stretches interpretation to something beyond a command of the material. It is hard to believe the sounds she produces are all in a day’s work, but with her it’s true. ( Brahms Violin Concerto. The Florida Orchestra / Michael Francis ) Andrew Meacham Tampa Bay Times 

Riveting Paganini from Tianwa Yang. I have seldom enjoyed this concerto so much! ( Paganini Violin Concerto No. 2. Vancouver Symphony ). Yang literally dove into it, letting loose her spontaneous creativity and bringing out the work’s wit, play and sheer capriciousness. At the same time, nothing was overdone; the violinist’s sheer delight in the music always communicated itself and carried things forward. The playing was also very human: sometimes fragile, sometimes thoughtful, sometimes buoyantly seductive but always fully felt. For once, I detected no ‘kitsch’ in the sentimental little reveries: in the big theme of the last movement, there was lovely poise and restraint, and it was genuinely affecting. The violinist’s narrative was engrossing enough that I really did not pay much attention to the staggering technical requirements needed to bring this off. Things seemed to evolve naturally: the incredibly clean precision in the very high notes, the adventurous light bowing and lyrical sense, the disarmingly fluent ‘slides’ and the almost gun-shot fire of her pizzicato passages in the last movement (commanding, yet both bizarre and witty). Tianwa Yang was certainly technically and artistically striking on many levels. Yet the secret of this performance was that she took the work fully to heart. Geoffrey Newman Seenandheard-international.com

Violinist Yang Tianwa’s performance of it ( Mendelssohn Violin Concerto with the Singapore Symphony / Shui Lan ) was as well-rounded as one could ask for. She plays with a beautifully fluent bow stroke and razor-sharp focus. Her two generous encores were staggering, technically impeccable and immensely musical and the solid performances left the audience buzzing throughout intermission. Mervin Beng The Strait Times

The sort of performance that makes Tianwa Yang a ” one to follow ” artist. Tianwa Yang played with confidence, feistiness, a wide dynamic range, bright tone, was soulful and sweet in lyrical passages, and brought much poise, energy and pizzazz to those demanding passages that are sometimes said to be written “against” the violin ( Brahms Violin Concerto – Royal Philharmonic Orchestra / Cristian Mandeal ). Popular and oft-played though this work is, it still has to be mastered by each of its performers: Tianwa Yang has done so … the sort of performance that makes Tianwa Yang a ‘one to follow’ artist. And it was not long before she gave us something else, Tianwa Yang played the single-movement Ysaye Solo Sonata No.3 (‘Ballade’), dedicated to George Enescu. It’s a remarkable piece, reminding of Bartók. Tianwa Yang (she’s recorded all six pieces) gave a stunning performance, musicianship and technical accomplishment happily married.  Colin Anderson ClassicalSource.com

Many of us still have pedestals reserved for the great players of the golden age – Milstein, Heifetz, Kogan and Gitlis to name just four of my own favourite violinists. This young lady is up there with the best of them. This is a must-buy for fans of violin artistry and the music of Sarasate. The playing on this latest, and final, volume ( Sarasate. Music for Violin and Orchestra. Vol 4 ) maintains the fabulous standards of musicianship heard in previous issues. Virtuoso passages are thrown off as if they are simple Grade 1 violin pieces. There’s more to it than that, though. Her tone remains creamy, clear and warm throughout and there’s not the the slightest hint of strain. Her artistry is never in doubt….To summarise I challenge anyone to pick holes in the performances on offer here by Tianwa Yang. I simply can’t imagine this tuneful, technically demanding music being played any better than this. Full marks and a fitting finale to a great series.  John Whitmore Musicweb-international.com

In Tianwa Yang we find an artist of exceptional technique and musicianship. Above all, her tone, particularly at the extremes, is heart-meltingly beautiful, so even what look on the page to be the dullest of scales and arpeggios take on a luminous glow. The E minor Concerto is unreservedly splendid: tasteful rubatos in the first movement, a purposeful flow in the second, captivating high spirits in the finale, and impeccable technique throughout. Roger Nichols BBC Music Magazine