‘These [performances] are truly inspiring. Shaham is unafraid of liquid, quick portamenti in the Baal Shem Suite and he is at pains to balance Hebraic fervour with high lying lyricism. The harp-like ripple of the second movement is a testament to Erez’s involving and colour-conscious playing. Shaham intelligently varies his tone here – this is not an understated Nigun but it is one that says a lot without saying too much. The joyous buoyancy and culminatory exultation of the finale show how adept the duo has been throughout – they pace the suite extremely well … The playing is insightful, expressive, and thoroughly idiomatic. These two musicians make an articulate and important statement about both composers’ work’ (MusicWeb International)

‘Shaham's fiddle weeps with an expressive rich, dark tone, especially in the Nigun movement’ (Classic FM Magazine)

‘Hagai Shaham possesses the ideal kind of silver-toned, narrow-vibratoed purity to make these occasionally melodramatic pieces ring true. Rather than fall back on a well-upholstered, opulent sound, he streamlines his tone, adding a special kind of intensity to Bloch's soaring climaxes. Shaham strikes just the right balance between interpretative cool and swashbuckling bravado in Baal Shem … the recording is excellent throughout’ (The Strad)

‘Such a fine soloist as Hagai Shaham … The Baal Shem Suite … receives an excellent performance. Shaham projects the ectsasy of the climaxes marvellously, underpinned by evocative fanfares from Arnon Erez's piano … this remains a fine release of worthwhile and relatively neglected repertoire’ (International Record Review)

‘Both composers are served extremely well on this beautifully recorded disc, Hagai Shaham and Arnon Erez in particular giving a totally convincing performance of Bloch's well-known Baal Shem … The overall impact is all the more powerful for the sure sense of pacing both artists demonstrate through the recital’ (BBC Music Magazine)

«Bloch of emotions: vehemence and serenity, stud and certainty, poetry, brutality, sensuality, spirituality: the interpretation which is delivered to us by Hagai Shaham and Arnon Erez is of an incredible richness … but it is especially the interpretation of the five works which confers all its richness. There Hagai Shaham signs one of the most beautiful versions of these partitions: all is translated in a way subtle and inspired by a bow of an absolute control, a sumptuous sonority and a vibrato of an infinite diversity … in this album, Hagai Shaham and Arnon Erez, which one will never say enough the virtues of executants and especially of interpreters, reach the level of excellence» (Classica, France)

‘Here Shaham and Erez play with wonderful empathy and understanding, undoubtedly this is music that they feel with a deep passion. The aching Molto quieto is also very beautiful whilst the concluding Moderato really kicks off a whirlwind of activity that has Shaham on true top form … this whole disc is a definite must for lovers of solo violin especially those with a penchant for Bloch's unique music’ (Classical.net)

«Hagai Shaham confirms a remarkable talent, which goes far beyond the technical performance … this disc is essential at the head of a rather thin but high level catalogue [of this repertoire]» (Diapason, France)

‘Bloch's first Sonata given a 'devastating performance' … if there is any justice, this fine new recording will win these undervalued works new friends. Please try these sonatas, whether or not you already know them’ (BBC Radio 3 CD Review)

‘Hagai Shaham … (compared to Isaac Stern's recording of the first sonata) plays with similar intensity if not with equally ecstatic frenzy … Hagai Shaham, who has championed the music of violinist-composers Joseph Achron and, more recently, Jenö Hubay, produces a steely rather than a sumptuous tone. His grandiloquent oratorical flourishes, as well as his edgy technical display, therefore flash like tempered steel, however, leaving the least trace of coldness … So another disc or so from Shaham could encompass everything Bloch wrote for the violin (and perhaps even include the concerto). Given the strong appeal of this initial offering, that's a consummation devoutly to be wished. Highly recommended’ (Fanfare, USA)

‘It's a credit to Shaham and accompanist Arnon Erez that this work carries such a punch. Bloch's knowledge of the violin—he was taught by a master in Ysaye—means that the passagework is frequently taxing, but with this completely under his fingers Shaham has no worry’ (MusicOHM.com)

‘In both works, Shaham meets Bloch's extreme technical demands without flinching; and his timbral control is dazzling throughout (his ability to spin silk at the top of his register is especially astonishing). Pianist Arnon Erez seconds him admirably, whether the score demands that he engage in intricate give-and-take with the violinist or that he slip off into a different world entirely’ (International Record Review)