Brahms: Viola Sonata No. 2 in E flat major, Op. 120 No. 2

“In the First Sonata, in which Rysanov is accompanied by the excellent Katya Apekisheva, the music is more freely phrased, with a humorous sense of the latent waltz in the Allegretto and plenty of vigour in the finale. Rysanoc and Jacob Katsnelson are also more effective with the Second Sonata, especially in the agreeably conversational manner they adopt in the final variations, as when the melodic line flows seamlessly between them in the grazioso section.” Gramophone Magazine, January 2009

“…I found Rysanov's performances of both Sonatas compelling, vivid and packed with moments of great musical insight. The two trio performances are also extremely enjoyable…” BBC Music Magazine, January 2009 ****

“Brahms was the first to admit that he hadn't entirely solved the new problems of balance in the works that replace the clarinet with a viola (the clarinet sonatas and the Op 114 Trio). With recording, of course, some help can be given.
The viola is well forward in the performances by Rysanov, and this suits the music's extrovert, eloquent manner. In the First Sonata, in which Rysanov is accompanied by the excellent Katya Apekisheva, the music is more freely phrased, with a humorous sense of the latent waltz in the Allegretto and plenty of vigour in the finale. In the Op 114 Trio, the outside movements benefit from the vivid sense of melodic direction provided by Rysanov and Katsnelson.
The G major Violin Sonata was also written for Joachim, and arranged for viola not by Brahms but by his publisher Simrock's editor Paul Klengel. Transposing it from G down a fourth to D to accommodate the viola loses the music something of its elegance, but this is a persuasive performance. Persuasiveness is also needed in Op 40, which began life as the Horn Trio. Not all the cheerful vigour that Rysanov and Apekisheva provide can make the finale seem anything but a piece of hunting exuberance, but they do splendidly with the Scherzo and the Adagio mesto.” Gramophone Classical Music Guide, 2010

“…Power makes a convincing case for these arrangements… His tone is strong… but capable of some variety in colour and expression. Power's musical relationship with Simon-Crawford-Phillips, and especially with Tim Hugh in the Trio, gives a lot of pleasure.” BBC Music Magazine, April 2007 ****

“Viola players have reason to be grateful to Brahms for giving them the chance to perform the two Op 120 sonatas, originally for clarinet.
It's less well known that he similarly provided a viola part as alternative to clarinet for the Op 114 Trio. For the sonatas he reworked the part, adding a few chords and double stops, as well as transposing some of it downwards (to exploit the instrument's generally lower tessitura) but in the Trio he contented himself with a simple transcription. In Lawrence Power's hands the extensive use of the viola's upper register poses no problem; he commands a wide tonal spectrum throughout his range, and there's no sense of strain. The Trio does lose something without clarinet, sounding more monochrome as the viola and cello blend together. This blending can, of course, be an advantage – the two string instruments in octaves, in the Adagio, make a wonderful sound. And this is a very fine performance, of exceptional expressive range, from extreme delicacy to thrilling power.
The sonatas as played here will surely demonstrate (even to clarinettists) that the viola version is in no way second best. Particularly enjoyble in the Second Sonata, is the second movement's dark passion, relieved by glowing intensity in the middle section, where Simon Crawford-Phillips manages exactly to convey Brahms's forte ma dolce e ben cantando. The final variations are just as impressive, each one so well characterised yet perfectly paced so that the coda seems an inevitable climax to the whole work.” Gramophone Classical Music Guide, 2010

“Landaas produces an exceptionally fine sound, her tone beautifully centred, her vibrato arising naturally from expressiveness initiated by the bow...In addition, Horton is adept at balancing chords so that the thickest textures sound rich, never turgid.” Gramophone Magazine, June 2012

“This beautifully engineered solo recital with pianist Lars Vogt demonstrates [Roberts's] many strengths, not least a honeyed tone and a capacity to project a real sense of intimacy...In many respects their view of the music perfectly accords with the autumnal nature of Brahms's late style.” BBC Music Magazine, November 2011 ****

“[Roberts] brings to the Brahms sonatas an expressive intensity and sense of nostalgic longing that goes straight to the heart of these miraculous scores. She also captures memorably the spellbound fantasy of Schumann's elusive Märchenbilder...The way Roberts and Vogt gently ease the tempo and sensitively shape the magical coda of the Second Sonata's opening movement is worth the asking price alone. Highly recommended.” Classic FM Magazine, November 2011 *****

“Zimmermann's performance is masterly, strongly characterised in the positive first movement and the witty Scherzo [of the Clarke]...[In the Vieuxtemps] too Zimmermann and Gerstein give an ideal performance. Recording of all three works is excellent, a credit to this new label.” Gramophone Magazine, November 2010

“Zimmermann and Gerstein allow the music (Brahms) to unfold naturally in a gentle, autumnal account.” International Record Review, March 2011