"En af mine yndlingsbratschister er den tyske musiker Tabea Zimmermann, og jeg nyder især, når hendes bratsch taler alene ... Tabea Zimmermann er i gang med et langsigtet projekt, hvor hun indspiller de geniale solosuiter, Johann Sebastian Bach tilbage i 1700-tallet skrev for cello, på sin bratsch ... Hun gør det med dén blanding af nøgternt overblik og musikalsk nærvær, der bevirker, at hun har indtaget rummene i mit hjem de seneste dage og fyldt dem med lyd, nærvær og ro ... Tabea Zimmermann sætter Bachs evighedsmusik i nutidigt perspektiv ved at koble hans to sekssatsede suiter med seks satser fra mesterkomponisten og Sonningprismodtageren György Kurtágs 'Signs, Games and Messages'. Et sælsomt smukt univers fra vores egen tid, hvor toner glider ind og ud af et halvmørke ... Alt står nøgent frem og viser, hvor mesterlig en musiker Tabea Zimmermann er"

"Instrumental choice: Zimmermann's playing is profoundly thoughtful, leading to flawlessly structured readings ... Perhaps most remarkable is Zimmermann's breathtakingly skilful performance of the Sarabandes in which the differentiation of detail within a contrapuntal texture sounds almost as if two instruments are playing ... Superbly recorded in a richly resonant ambience, this is an unusual and compelling release"

"Editor's choice: The Kurtág pieces are powerfully direct in expression while displaying the greatest compositional skill and subtlety ... As for her Bach, it is a joy. I sometimes wonder if these suites work better on the viola than they do on the cello, so much do they gain in lightness and agility. Certainly in Zimmermann's hands they are airborne, free to race and play, dance with nimble feet or graceful swings, and sing with clean, sweetly floated line ... Add to this a gorgeous sound from her viola, captured in a superbly judged recording, and you've got a real beauty"

"Tabea Zimmermann hat sich Zeit gelassen, um ihre Einspielung der ersten beiden Bach-Suiten - 2010 mit dem ECHO Klassik ausgezeichnet - mit einer zweiten Folge fortzusetzen. Die Wartezeit hat sich gelohnt, denn genauso wie Bachs Satzart im Verlauf des Zyklus zunehmend komplexer wird, so ist Zimmermanns Spiel jetzt noch subtiler und raffinierter"

"If you've queried the point of listening to a Bach cello suite played on the viola, Tabea Zimmermann's Solo II ... renders the question unnecessary. Her new album comes a decade after Solo, in which she recorded the first two suites. Now she tackles, with supreme elegance, No 3 in C and No 4 in E flat, her performance buoyant, lithe, with a flexible attention to ornament and phrasing. Using a classical bow, light and swift for clear articulation, she nevertheless plays a modern viola ... Its rich, even sound is given maximum bloom in this spacious recording"