Brahms: Violin Sonatas – No 1 in G major, Op 78; No 2 in A major, Op 100; No 3 in D minor, Op 108; Scherzo in C minor from F.A.E. Sonata, WoO 2

Reviewed on Tue 13 Sep, 2016

Dynamic differentiation is wide; so is the sonority of tone conjured by Lars Vogt ranging through pianissimo upwards, the bass line always powerfully round yet never strident or rackety.

Peers but individuals too; and the tellingly close rapport between Christian Tetzlaff and Lars Vogt is exemplified in the last movement of the G major sonata. This, a rondo in G minor, is mainly a study in introspection, content perhaps autobiographical, the theme taken from two songs Rain-song and Echo. It’s a graphic study in numerous soft shades, graphically captured here. They exemplify the depth of thought, concentration and impassioned feeling that infuse these interpretations emerging as they do from quiet musing to assertive declamation, from elasticity of phrase to arching spans never tied to a metrical line. Dynamic differentiation is wide; so is the sonority of tone conjured by Lars Vogt ranging through pianissimo upwards, the bass line always powerfully round yet never strident or rackety. This is a disc to cherish, but do also consider Augustin Dumay/Maria-João Pires (DG) and the time-honoured Josef Suk/Julius Katchen (Decca) of 1967.
–Nalen Anthoni