Shostakovich: Violin Concerto No. 1 in A minor, Op. 99

“The towering instrumentalists for whom these works were written team up with great conductors in peerless interpretations. Oistrakh sears in the superior masterpiece.” BBC Music Magazine, December 2012 *****

“It would be impossible to over-praise Rostropovich's performance of the solo part, which combines phenomenal technique with the complete musical understanding one expects of a soloist who has had the advantage of working with the composer. What is more, Ormandy and the Philadelphia Orchestra accompany him magnificently.” Gramophone Magazine (Cello Concerto)

“[the Shostakovich] receives a deeply considered interpretation, its emotional narrative vividly etched by both soloist and conductor...Batiashvili begins the Cadenza in deep contemplation but quickly ratchets up the tension driving us irresistably towards the 'Burlesque', dispatched here with venom and rhythmic drive.” BBC Music Magazine, April 2011 *****

“few if any [recordings of the Shostakovich] are finer than this one...Batiashvili's reflective, almost weightless approach in the opening Nocturne...is rendered more distinctive by the resonant acoustic of the empty Herkulessaal...the passacaglia is exceptionally poised and the cadenza more sheerly musical than usual. The finale whizzes to its end without undue triumphalism.” Gramophone Magazine, March 2011

“It's a marvellous performance [of the Shostakovich], suitably crepuscular in the opening "Nocturne", before a Gypsy flamboyance takes over for "Scherzo". Salonen proves the perfect accomplice in realising the album's theme of works reflective of the Soviet era, the programme including pieces by Soviet emigrés Arvo Pärt and Giya Kancheli” The Independent, 11th February 2011 ****

“[Shostakovich's] No. 1, Op 77 is the chief work, played with majesty and poetry on this soulful, mixed repertoire recital disc...This DG debut disc confirms Batiashvili as a powerful musical voice with an exciting future.” The Observer, 20th February 2011

“Batiashvili is matched in emotional intensity by the Bavarian orchestra and Salonen, as she is in the inspirational way that Shostakovich’s palette of colours is so purposefully deployed.” The Telegraph, 11th March 2011 *****

“I will risk accusations of heresy by saying that this new recording of the Shostakovich Concerto make a btter case for the work than its premiere recording...Batiashvili's playing strikes me as more personal than Oistrakh's, and she seems more willing to dive into its bleakness, its black humour and its frayed nerves. She plays like a protagonist. At the same time, Batiashvili conveys these emotional states without sacrificing an iota of her gorgeous tone.” International Record Review, April 2011

“She can shade her violin a thousand ways, and with lightning speed too… this is a CD crackling with excitement” The Times

“…the warmly recorded Berlin Philharmonic and Rattle provide a tangibly symphonic framework for the Shostakovich, highlighting much interesting detail and colour. Chang is in superb form projecting particularly high-voltage playing in the Scherzo and Finale of the Shostakovich and in the second movement of the Prokofiev.” BBC Music Magazine, April 2006 ****

“Gone are the days when Shostakovich's First Concerto meant one or other frequently inaccessible David Oistrakh LP. Today's young virtuosi are queuing up to record the piece. In making the transition from wunderkind to mature artist, Sarah Chang and EMI have previously played it safe, setting down lesser known concertos to general acclaim. This live recording from Berlin moves into more demanding territory with results that invite comparison with established classics. The soloist is fortunate to be partnered by Sir Simon Rattle and his Berliners and this is a reminder of his unambiguous excellence as a concerto accompanist. Notwithstanding a sound-stage that feels overstuffed at high decibels, the effect is quite different from those rival accounts where the orchestral part is painted in shades of grey. The sophisticated sense of colour and control of line anchor the performance.
What you might miss is that indefinable factor 'authenticity of experience'. Not that Sarah Chang lacks heart, courage or individuality. She plunges excitedly into climactic passages, determined to give her big dark sound a scorching edge. The technical control is mightily impressive. Chang's deployment of vibrato, perhaps a little wide and unvaried for some tastes, is unashamed; ditto the blood-and-guts bowing. Her ability to fine down her tone to a barely audible pianissimo is spellbinding in the opening Nocturne.
So what if there's a momentary lapse of intonation; this is great playing, perhaps the best she has yet given us. While the Passacaglia third movement is somehow less eloquent, it's well worth sampling a recording which, like Repin's, ensures that the music can actually be heard as variations on a ground.
The Prokofiev goes well, too, positively projected but never over-personalised.” Gramophone Classical Music Guide, 2010

“The soloist is fortunate to be partnered by Sir Simon Rattle and his Berliners. …this is a reminder of his unambiguous excellence as a concerto accompanist. Sarah Chang… plunges excitedly into climactic passages, determined to give her big dark sound a scorching edge, The technical control is mightily impressive... this is great playing, perhaps the best she has yet given us.” Gramophone Magazine, May 2006