CD REVIEW - Fanfare Magazine

Review of Bion Tsang's latest CD

Fanfare Magazine Tenafly, NJ August 3, 2010

Classical Reviews

It’s been a while since I’ve kvetched about having to review too many new releases of Brahms’s cello sonatas. I love them dearly, but enough was enough. Now, after a welcome respite, here comes Michigan-born cellist Bion Tsang to “make the pie higher,” to borrow a phrase from an ex-POTUS’s primer of quotable quotes.

I had kind words for Tsang’s Beethoven sonatas in Fanfare 30:1, commenting on his solid technique, full-throated vibrant tone, and poised performances that spoke to long, careful, and loving preparation. But nothing in his Beethoven could have prepared me for his Brahms.

My all-around favorite recording of the Brahms sonatas, and the one by which I’ve measured all comers, has been the one with Nancy Green and Frederick Moyer on the JRI label. That must now change thanks to Tsang, darn him anyway.

There are two more contributors to the glory of these performances that must be acknowledged, and they are the New England Conservatory’s Jordan Hall and the uncredited recording team. I don’t think I’ve ever heard—no, I know I haven’t—a cello and piano duo sound this way on record. Both instruments soared from my speakers with such headroom and bloom that I could literally feel the ambient acoustic of the hall surrounding me, and this is not even a multichannel surround-sound CD. Truly amazing.

Much as it grieves me to say it, Nancy and Frederick, move over; Bion and Anton are now my top recommendation for the Brahms cello sonatas.

By Jerry Dubins

Read the full review... Also available in hard print in Issue 33:6 (July/August 2010)

REVIEW - The Seattle Times

Review of Bion Tsang's performance at the SCMS Summer Festival.

The Seattle Times Seattle, WA July 22, 2010

It seemed impossible that the night could get any better, but after intermission it did. Lalo's Piano Trio in A minor opened its floodgates immediately, with a torrential opening delivered with bracing conviction by cellist Bion Tsang. James Ehnes' violin engaged Tsang's cello in a series of beautifully shaped ripostes. The piece ended with the two string players plucking two notes — such delightful simplicity that chuckles erupted from the audience.

After this impassioned first movement, the Presto exploded like a geyser. The energy of this movement never ebbed, bubbling up with cascades of piano chords from Adam Neiman and pizzicato bubbles from the strings. The stillness of the slow movement was titanic: The instruments gathered force and swelled up magnificently before ebbing out, a tidal wave hitting land in slow motion.

The concluding Allegro offered a mountainous landscape of contrasts from the strings while the piano offered thunderous lightening-bolt chords. Electrified by all the energy produced that evening, the audience — no surprise — leapt to its feet.

By Sumi Hahn

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REVIEW - The Gathering Note

Review of Bion Tsang's performance at the SCMS Summer Festival.

The Gathering Note Seattle, WA July 10, 2010

Cellist Bion Tsang and pianist Adam Neiman have been welcome performers at the festival for years, and each time they seem to play with even more depth and insightful musicianship, if that’s possible. From the first notes, urgent but not loud, it was possible to sit back and just appreciate a masterly interpretation.

By Philippa Kiraly

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CD REVIEW - American Record Guide

Review of Bion Tsang's latest CD

American Record Guide Cincinnati, OH July/August 2010

Guide to Records

This is a concert at Jordan Hall at Boston's New England Conservatory. It is slightly more distantly miked than in a studio. That is not a criticism: it gives us somewhat more dynamic range, making it more exciting. One hears the occasional cough and applause from the audience and some heavy breathing on the part of the cellist, but that's part of the fun.

Tsang's arrangements for cello of Joachim's arrangements for violin of the Hungarian Dances are effective and played with virtuosity. Here Tsang comes into his own, showing unerring intonation in numerous double-stops. The slow movement of Violin Sonata 3 is also impressive and well transcribed as well.

By David Moore

Review available in hard print in Volume 73, Number 4 (July/August 2010)

In the News

Cellist Bion Tsang and pianist Anton Nel have collaborated in recitals and festivals from coast-to-coast for nearly 20 years. Their second live CD, "Live in Concert, Brahms Cello Sonatas and Four Hungarian Dances," is now available from Artek Recordings. Both musicians live in Austin, Texas. More...