Austin Arts: Seeing Things

KLRU’s “In Context” series to feature Anton Nel and Bion Tsang

Austin Statesman Austin, TX August 25, 2010

By Jeanne Claire van Ryzin

Thought that KLRU’s famed Studio 6A soundstage was just pop music? Think again.

In February, the legendary set of “Austin City Limits” was the site for a concert by two Austin-based classical musicians, pianist Anton Nel and cellist Bion Tsang. The gig was a recording for KLRU’s “In Context” series, which presents performances by Austin artists and cultural organizations. Tsang and Nel played selected movements from Boccherini’s Sonata in A major, Rachmaninov’s Sonata in G minor, Shostakovich’s Sonata in D minor, Beethoven’s Sonata in A major and Brahms’s Hungarian Dance No. 1 in G minor.

Thursday KLRU will air the 30-minute special at 8 p.m.

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Austin Sonata Limits

Bion Tsang and Anton Nel bring a little class(ical) to the 'Austin City Limits' studio

Austin Chronicle Austin, TX August 20, 2010

By Robert Faires

You may have thought that in the 34 years of taping in the KLRU studios, every kind of musician must have played on the set of Austin City Limits. But it wasn't until February 2010 that the stage, with its signature skyline of the capital city, played host to a pair of classical musicians. Cellist Bion Tsang and pianist Anton Nel, both respected artists around the world and faculty members in the Butler School of Music at the University of Texas, had the honor of being the first classical musicians to play in KLRU Studio 6A when they taped a half-hour special for the PBS affiliate's Lone Star Emmy Award-winning arts series In Context.

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Tsang and Nel concert airs on PBS

Cellist Bion Tsang and pianist Anton Nel make their PBS broadcast debut as cello/piano collaborators on Thursday, August 26, at 8 p.m. on KLRU. The half-hour IN CONTEXT special was recorded in February 2010 in KLRU Studio 6A, home of the venerable live music series Austin City Limits. KLRU’s IN CONTEXT art series presents performances from some of Austin’s leading artists and cultural organizations.

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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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