Bax's second violin sonata is one of the most nuanced, subtly inflected duos ever written, requiring everything from gutsy, sweeping gestures to ethereal harmonics, all couched in a richly chromatic idiom that pushed tonality in new directions. Those who know Bax's "November Woods" will recognize the close kinship of this sonata with the seminal orchestral work. Jackson has the measure of this music and plays it all with a stunning tonal palette, ably matched by Wass. Reproduced on a good system and with proper volume levels, there is nothing reticent in this bold performance.
By the time Bax began composing his Concerto for Violin and Orchestra in 1937, he had written six symphonies and numerous works for combinations of solo instruments and orchestra, only two of which, the Phantasy for Viola and Orchestra and the Cello Concerto, are actual concertos. (The pieces for piano and orchestra are more akin to Bax's tone poems than to genuine concertos.) Bax began the concerto in June 1937, finishing the short score in October. The piece was completed …….John Palmer @ Allmusic
If Michel Corrette was a little over-enthusiastic in crediting Corelli with the invention of both sonata and concerto form as it was known and understood in the mid-eighteenth century, Roger North had only to judge by the enormous popularity of the Italian master's works in England in the 1720s to deduce that they would be immortal… Monica Huggett…brings a sweetness of tone and a perfection of technical control that cannot but inspire admiration on their own count, but in combination with such unerring musical insight as is to be found here makes these into quite masterly interpretations… The continuo members of Trio Sonnerie are unerringly tasteful in their playing, while Nigel North on theorbo and other plucked instruments is quite stunningly imaginative. North's choice of the baroque guitar and his playing of it in Corelli's Follia Variations is quite inspired.(Tess Knighton)
This three-CD set showcases Beethoven's most famous Violin Sonatas in multiple performances by some of the 20th century's greatest violin/piano duos. A virtual master class in Golden Age interpretation, this collection features three performances of the "Spring" Sonata and four of the "Kreutzer" Sonata, ranging from Georg Kulenkampff and Wilhelm Kempff's "Kreutzer" in 1935 to Nathan Milstein and Arthur Balsam's "Spring" in 1950. The set also includes the celebrated 1940 "Kreutzer" performance at the Library of Congress by Joseph Szigeti and Bela Bartók. To recapture the magic of these performances for a new century, rare, pristine 78s were transferred and 24-bit digitally remastered using the state-of-the-art CAP 440 technique.