Chihyun Chang

Korean cellist Han-Na Chang, after spending most of her recording time on fairly substantive fare, takes the tried-and-true road of turning out an album of decidedly more lyrical bent. This is quite a common record-company practice; at least it has been with EMI, and not necessarily one to be disparaged. Critical acclaim of Chang has been nearly universal, though even acclaimed critics have found fault when dwelling upon her manner. This is the fifth album for EMI that has seen this wisp of a young girl blossom into a woman, at least if EMI’s cover art is to be trusted. And as might seem appropriate for the age, the mainly short selections (with the notable exception of the Lalo) are full of passion and pensive promise, perfect choices that seem tailor made for this time of her life.

This EMI release of The Four Seasons gives violinist Sarah Chang top billing (as would be expected) and the Orpheus Chamber Orchestra a smaller, less significant listing. As far as the quality of performance goes, however, Orpheus should absolutely be considered the star of this recording with Chang getting the footnote instead. This is simply not the case; from the ridiculously posed glamour photos filling the liner notes to the balance of the performance itself, this album is all about Chang. The most fulfilling aspects are the orchestral tuttis. Orpheus is truly at its best here, playing with as much energy and passion as the much ballyhooed recording with the Venice Baroque Orchestra.

Sarah Chang's new CD of two of the most flavorful Violin Concerti to come out of 20th-century Russia is a winner. The first movement of the Shostakovich finds Chang playing, at first, with no vibrato, and the effect is haunting and as properly spooky as the composer wanted. Her many levels of both dynamics and vibrato are very much on display throughout, and in the Scherzo, she builds to a wonderfully maniacal climax.

Sarah Chang is certainly an exceptional player; her finely produced tone is characteristically sweet, yet she varies it most imaginatively — in the Concerto's slow movement, for instance, where she follows the changing shades of emotion in the most detailed way. The first movement may have been recorded with more strongly expressed feeling (by Boris Belkin), its finale with more mercurial displays of virtuosity (Xue-Wei), but overall Chang is the equal of any, with relaxed technical command and real feeling for the music. The accompaniment is well balanced and cleanly recorded, with distinguished solo contributions from woodwind and horns.