International Music Management for Classical Artists

Tianwa Yang


” 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 “….

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

Violinist’s virtuosic performance electrifying. There’s always a terrific buzz in the air whenever a brand-new season begins. But in this case, it might have had more to do with the electrifying presence of rising star Tianwa Yang… with her fearless artistry matched only by dazzling bravura. Yang attacked the first movement ( Paganini Violin Concerto No. 1/Winnipeg Symphony Orchestra ) Allegro maestoso like a tiger, ripping sound out of her fiddle like a woman possessed. She displayed razor-sharp clarity during her rapid-fire runs, often ending in the stratosphere with spot-on intonation. But she also showed her true (tonal) colours during the notoriously difficult work’s Adagio, imbuing its seamless legato phrasing with taut tension, before unleashing a flurry of pyrotechnics of double stops, harmonics and a firmly ricocheting bow during the finale, Rondo: Allegro spirituoso. Holly Harris Winnipeg Free Press 

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

Up-and-coming, award winning violinist Tianwa Yang delivers technically flawless, stunning performances of these works…[and] as far as the second is concerned her youthful vigor gives it an edge over what’s been out there. Bob McQuiston Classical Lost and Found

Yang plays the works ( Castelnuovo-Tedesco’s 2 Violin Concertos ) very confidently; she has no technical limitations at all, and she captures the warmth of those romantic tunes with unfailing aplomb…… unflagging gusto and, in music that can turn kitschy, taste. Now is usually the time we get to say something condescending, like “She’s no Heifetz, or Perlman,” but the truth is that she doesn’t suffer at all from the comparison. She’s an excellent artist, one whose musicality and passion speak for themselves, and she can hold her own against anyone.  David Hurwitz Classics Today

Chinese violinist Tianwa Yang confirms her growing reputation with playing of great prowess… Tim Ashley The Guardian

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

Tianwa Yang was the soloist who took on the challenge in this performance ‒ Brahms Violin Concerto ‒ with the Royal Philharmonic Orchestra conducted by Cristian Mandeal, and she was more than up to it. Her sound had both bite and beauty (she plays a 1730 del Gesù instrument) …  she revelled in exposing and exploring the work’s complexity. The cadenza that brings the first movement to a close was a masterclass in virtuosity, but this wasn’t virtuosity for virtuosity’s sake: there was real feeling ‒ and a sense of fun ‒ in Yang’s playing too. Elizabeth Davis

If one was in any doubt that Tianwa Yang is an artist to listen out for in the future those thoughts must have been confounded. Upon entering the fray Tianwa Yang quickly established her presence through precision of attack, gainfully meeting the challenge of unifying the grand melodic gestures with the intricacies of passagework, often played with a graceful mezzo-piano tone that made one want to revel afresh in the concerto’s many details. Indeed, the playing of Joachim’s cadenza was an extension of this with the volleys of bowing and furious finger work being thrown off with dextrous ease before the final gathering of thematic material alongside a satisfying orchestral tutti.

If one was in any doubt that Tianwa Yang is an artist to listen out for in the future (and I wasn’t), those thoughts must have been confounded by her encore, Ysaye’s third sonata “Ballade”, dedicated to George Enescu. Within its complex monologue she found much of interest to say, with the tones and inferences drawn from her 1730 Guarneri del Gesu as varied in utterance and imaginatively yet cogently phrased as you could want. Evan Dickerson

Tianwa Yang, as the soloist in the Lalo ( Helsinki Philharmonic Orchestra ), represented the legacy of the 19th-century virtuoso cult. The variety of timbre from Yang’s Guarneri violin was uniquely enjoyable. Helsingin Sanomat

The Symphonie Espagnole is a real virtuoso concerto. Performing this work written for Pablo de Sarasate, and with great Spanish passion was Chinese star Tianwa Yang. She was not afraid to display grandiose emotions in her performance, playing with real gusto, but she did not, on the other hand, forget the more subtle, refined moments. Hufvudstadsbladet

Violinist Tianwa Yang has now let loose her remarkable talents on the Sonatas for Solo Violin Op.27 by Eugene Ysaye (Naxos 8.572995). … her faultless technique enables her to delve deeply into the heart of these remarkable sonatas, and is certainly one that you’ll want and will keep going back to. Terry Robbins ( link: )

What makes this release so distinctive is Yang’s unfailing purpose: every note counts, even within the densest thickets of finger-contorting contrapuntal lines, with the result that one can’t help but devour the disc in a single sitting. The first movements of no.2, ‘Obsessions’, and no.5, ‘The Dawn’, are testament to Yang’s unfailingly balanced voices. The fullness of her sound is brilliantly captured, spotlighting smooth and classy playing that has no interest in parading the works as a compendium of technical challenges…. these are clearly thought-through performances of eyebrow-raising substance. Edward Bhesania The Strad

Yang, who has consistently impressed with her many Sarasate recordings on Naxos, now offers a splendid set of all six Ysaye sonatas. Virtuosity of the highest order is a sine qua non here — there is no room for a player not equipped for the Belgian composer’s often fiendish technical challenges — but that is a merely a beginning. Yang goes well beyond the notes on the page and instils an extraordinary poetry into this music. William Dart NZ Herald

Three top violinists have now taken on Ysaÿe’s challenge. ( 6 Sonatas for Solo Violin / Naxos ) The Chinese violinist, Tianwa Yang shines on her Guarneri instrument with flawless intonation and stays true to the score; she makes the cascades of harmonies sparkle with pleasure. Johannes Saltzwedel KulturSPIEGEL

Tianwa Yang’s colors are gorgeous, her nuances magical. Not technique (though she is technically flawless), but expression is her first concern. So, with her rich musicality, she becomes a fascinating narrator in Ysaÿe’s masterworks. Remy Franck Pizzicato

Yang’s playing is fluid, technically proficient, musically knowing and altogether winning. The Ysaÿe sonatas stand, nearly a century after they were composed in 1923, as monuments to seven great violinists—the seventh being their composer. In Yang’s performances, they sing at the highest level.

The video ( Naxos: Live in Concert from St. Petersburg ) is typical of her strengths (she doesn’t seem to have any weaknesses). Playing in St. Petersburg’s diminutive Capella Concert Hall, she renders Tchaikovsky’s and Brahms’ violin concertos with sonorous tones and great energy, then goes on to play an excerpt from Ysaye’s Violin Sonata No: 3 just to show what technical brilliance she’s capable of. Throughout the DVD her strong style, somber and deeply admirable, hits you the moment she starts playing. It’s as if she’s carving a sculpture out of a log, and then hurling it at you. Bradley Winterton Taipei Times 

Urgently recommended. Tianwa Yang’s exciting series of Pablo Sarasate’s music for violin and orchestra on Naxos (she’s devoted another series to his music for violin and piano) comes to an end with this fourth volume. Yang plays it convincingly and offers listeners as many choice violinistic pleasures as anyone today might do…. delivers the aria-like themes with a rich, smooth tone … throughout a performance that’s both fey and affecting…. The engineers have captured Yang up flatteringly close Robert Maxham Fanfare

This is the eighth disc of Sarasate that violinist Tianwa Yang has recorded for Naxos. Yang’s tone and dynamic is consistently seductive throughout the disc. Altogether a delightful disc. Edward Greenfield Gramophone

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

Decorating Saint-Saens Violin Concerto No. 3 ( Malmo Symphony Orchestra / Marc Soustrot ) with powerful bowing and great virtuosity … If you need more proof for the violinist’s competence she gave it in a fabulous piece by Eugene Ysaÿe as an encore. CarlHakan Larsen Sydsvenskan

Tianwa Yang is one of the best violinists of the new century. She is young and exceptionally good at playing the notes, but there are many performers like that, many who have breathtaking technical command, never set a foot wrong, never botch a note. Not so many have the emotional maturity or feeling for the music, and this is where she truly excels. The great concerto in E minor is phenomenally played: a recording which can be compared favorably to any other on the market. Don’t take my word for it. I conducted a test….. Tianwa Yang placed first….. Great violinists combine the head and the heart. On this recording a great violinist is at work. Recording of the Month. Brian Reinhart

Tianwa Yang also proves an outstanding advocate, soaring aloft on the surging tide of Mendelssohn’s inspiration with captivating spontaneity and disarming sincerity. Magic moments abound, but the beguiling way Yang winds down into the recapitulation of the opening movement’s heart-warming second theme is unforgettable. Julian Haycock The Strad

How does violinist Tianwa Yang’s interpretation stack up against formidable competition from the likes of Perlman (EMI), Heifetz (RCA), Zukerman (Sony),  Szeryng (Philips), Chung (Decca), Chee-Yun (Denon), and a slew of other equally recommendable folks? The answer: Ms. Yang does all right… producing a heady combination of excitement and passion in the faster sections and much beauty in the slower ones ( Mendelssohn Violin Concerto in E minor ). She obviously possesses a remarkable technique, and she displays her virtuosity at every turn. Moreover, while her propensity is for lively rhythms and zippy tempos, she leaves enough spaces in her phrasing to allow the music to breathe freely and come alive. This isn’t a rush job but one of accomplished dexterity in the manner of Heifetz. John J. Puccio

Young violinist Tianwa Yang has exceptional technique, and her vision in the great E minor concerto is unfailingly intelligent…. she remains an artist to watch. David Hurwitz

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

Tianwa Yang’s bright violin solos trip delicately over the top of the orchestral texture, and she handles the speedy passages with a impressive lightness of touch. It would be easy to over-egg Mendelssohn’s soupy solos in the middle Andante movements, but Yang’s versions sound beautifully fragile rather than indulgent. ClassicFM

Violinist Tianwa Yang is here to take us on another first-class ride down the Sarasate Express ( Music for Violin and Orchestra – Volume 4. Naxxos ).  The playing is here as perfectly matched to the composer as it was in the previous volumes: big, warm, romantic tone, luxurious treatment for all the melodies, and a virtuosity so easy that the word “easy” somehow seems insufficient.  Every time I review a Yang album I try again to describe what makes her playing so bewitching. Maybe it’s that, hearing her play, the music-making sounds as easy as picking up a violin and a bow and magically producing golden sounds. Maybe it’s how generous she is, sharing a romantic spirit with violinists who recorded albums in the 1930s. Maybe it’s the warmth and “width” of the sound she produces. Brian Reinhart

Her bright tone and flawless intonation cut through the orchestra like a knife; and her long sculpted phrases brought eloquence to her performance ( Prokofiev Violin Concerto No. 2 in Toronto ) Colin Eatock American Record Guide

Quite unique. Just in her mid-20s, Yang is a virtuoso worth following and is one of the bright violinist stars of the new century. Yang performed the “Four Seasons ” ( Piazzolla ). She is quick and exact in her strokes, evoking a multiplicity of sounds from her instrument unconstrained by the piece’s technical demands. At times she had the listener wondering how much improvisation there may be in its soloist interpretation of the score “. Terry DeBoer

Wolfgang Rihm. Complete Works for Violin and Piano. Completely and utterly wonderful ! For me another hot candidate for our trophy “recording of the year”. Oh my, what a violinist is this Tianwa Yang ! With this CD she has surpassed herself: What a range of dynamics, what a true mastery of the instrument, even what a power to emotionally differentiate her musical expression ! The 1987 born virtuoso even now ranks among the global elite of violin virtuosi. Also her duet partner, German-British born Nicholas Rimmer, makes a sensational debut here for the Naxos label with his precise, sonorous piano playing. Most important though: Here are two musicians who appear to communicate instinctively with each other. Tianwa Yang and Nicholas Rimmer present a textbook recording of all included works – with out exception and with bravura ! Rainer Aschemeier The Listener.

Total assurance on her instrument, evident on her recordings, is dazzling on stage, in addition to a tone of amazing power and firmness. The acuteness of the slow movement of Prokofiev 2nd concerto was literally felt under the skin of listeners. …. the final bravos went not to the orchestra, but the violinist Tianwa Yang. This is probably the only time in my life that I have sees a concert of an orchestra on tour conclude with an encore from the soloist, in this case the Malinconiaof the 2nd Sonata by Ysaÿe. But Tianwa Yang, whom we know by her Naxos CD devoted to Pablo de Sarasate, was deserving of this honor. Viviane Hagner, Arabella Steinbacher and Chloe Hanslip, of whom much fuss was made when they were heard in Montreal, did not reach the level of this violinist. Translated from French.
Christophe Huss, (Full article)

“Tianwa Yang continues to demonstrate that she is one of the most sensational violin talents of the new century. She gives everything she plays grand emotional sweep, or call it soul, so you hear both dazzling virtuosity and, more precious, super-heated all-in commitment…. she plays with breathtaking tonal depth and dazzling emotional range. Yang’s Mendelssohn violin concerto is coming out at some point this year. Let’s hope her career, after seven CDs so far, is only just beginning.”
Brian Reinhart, MusicWeb-International

“One simply marvels and enjoys. Her gifts are ideally suited to the task  .. flawless intonation, not least in the many passages involving high harmonics in the most extreme register. She is also brilliant in giving the many Spanish dance rhythms a winning lilt, so that this essentially trivial music is presented full of charm.”
Edward Greenfield, Gramophone

“Yang proves simply inimitable…Bravo!  Yang throws off merciless chains of double stops and finger-crippling arabesques with scintillating aplomb.”
Julian Haylock, BBC Music Magazine

“Her playing is simply extraordinary …. it’s the musicianship that is the prime focus. Tianwa Yang’s sound is beautiful. The tone remains perfect. All the notes are perfectly in place but it’s all so lyrical, sensitively shaped and touching.  It’s one of the best things I’ve heard in a long time.”
John Whitmore, MusicWeb International

“Tianwa Yang has taken the classical world by storm in recent years, and she showed why Friday in Glazunov’s Violin Concerto in A Minor. Yang employed superb tone, whether in the husky lower range or in the soaring upper register. Virtuosic pyrotechnics alternated with sumptuous melodies throughout the work and Yang’s lush romantic lyricism. ”
Timothy McDonald, Kansas City Star  

“She may already be accounted an unquestioned master of the violin – I guarantee your ears will reassure you my colleagues and I speak the truth….”
Steven Haller, American Record Guide

Yang rises above her competition.  The purity of her intonation, the almost amazing cleanliness of her technique, and the laser-like focus of her tone …. mixing sparkle and drive … ”
Robert Maxham, Fanfare

“Tianwa Yang is a sensationally talented young violinist. She has technique to burn. Best of all, she has a beautiful tone in cantabile phrases and a really seductive way with rubato that conveys emotion without distorting the rhythm.”

“A player of great resource – The Mendelssohn violin concerto in E minor was played by the young Chinese soloist, Tianwa Yang, making her UK concerto debut. She’s a player of great resource, sleek and polished, with a lovely cantabile in the slow movement, but saving something extra for the concerto’s ending. And, along with impeccable articulation, there were a few telling touches of phrasing where others simply dash.”
Robert Beale, Manchester Evening News. City Life Rating: 4 stars.

“A brilliant West Coast debut for violinist Tianwa Yang … foremost, the introduction of an extraordinary violinist… this young woman could outplay the devil. ….. Yang’s splash on our coast was stunning, (Ravel’s “Tzigane,”) ….  from the deep pentatonic declarations in the opening to the stratospheric harmonics and all the wild, infernal glissandos that slid in between.”
John Sutherland, Seattle Times

“I swear – in two passes of the bow she changed my perception of the landscape of violin playing in the world today. By the time she had finished her grand-scaled, probing and drop-dead gorgeous turn through Bruch’s Violin Concerto No. 1 in G minor, the 21-year-old Yang had announced herself as the most important new violinist to come on the scene in many a year…….. ”
Lawrence B. Johnson, The Detroit News