Brahms: Violin Sonatas Album Review – Ehnes and Armstrong’s performances show effortless precision | Classical music

WComposed between 1879 and 1888, Brahms’ three violin sonatas are the work of a man at his most creative period. Between them, they span a long range of emotions, from the lyrical, final G major with its rainy ending to the structural complexity of the fiery D minor. The middle A major sonata, familiar but deeply romantic, is one of the composer’s sunniest and most impressive compositions.

James Ehnes and Andrew Armstrong met in Winnipeg in 1991 when the Canadian violinist was 15 and the American pianist was 17. The longevity of their friendship pays off here in a performance that exudes effortless precision. At the opening in G major, Armstrong is the wind under the wings of Ehnes, two musicians who are in the art of closing, although the recorded sound prefers the light of the violin. The pacing is assured, the narration clear. The slow shoulder finish, and Ehnes’ sweet stance, evokes memories of the past.

In the main Sonata, the tone is conversational, evoking 35 years of friendship. The slowly rising frames of the andante emerge ländler and are followed by questions in a graceful allegretto grazioso. A technical highlight is the hallmark of the D minor Sonata, where Armstrong’s singing is complemented by full-blooded acrobatics on the violin.

Overall, Ehnes looks for a more modest approach, like Alina Ibragimova or Anthony Marwood. In fact, his endless collaboration with Armstrong parallels the history of Josef Suk and Julius Katchen.

Listen on Apple Music (above)