“[a] beautifully balanced performance, and the warmth and intimacy of the recording is an excellent match.” --CD Review, 5th September 2015
“Melnikov’s 1875 Bösendorfer piano sounds splendidly grainy, transparent and powerful, often overwhelming Faust’s gut-stringed violin in Brahms’s louder moments, but blending ideally in the elegiac slow movements.” --The Guardian, 27th September 2015 ***
“Enthralling, lovely performances.” --Gramophone Magazine, October 2015
BBC Music Magazine Chamber Choice - November 2015
“Melnikov’s 1875 Bösendorfer piano sounds splendidly grainy, transparent and powerful, often overwhelming Faust’s gut-stringed violin in Brahms’s louder moments, but blending ideally in the elegiac slow movements.” --The Guardian, 27th September 2015 ***
“Enthralling, lovely performances.” --Gramophone Magazine, October 2015
BBC Music Magazine Chamber Choice - November 2015
“The first Brahms sonata recorded by Isabelle Faust and Alexander Melnikov on period instruments made a big impression...Melnikov’s 1875 Bösendorfer piano sounds splendidly grainy, transparent and powerful, often overwhelming Faust’s gut-stringed violin in Brahms’s louder moments, but blending ideally in the elegiac slow movements.” --The Observer, 27th September 2015 ***
“Isabelle Faust and Alexander Melnikov (playing an 1875 Bösendorfer) make a strong case for the work as a whole, though even their impassioned advocacy can’t quite save Dietrich’s opening movement from sounding long- winded. In Brahms’s Second and Third Violin Sonatas, the players’ sound world may be a little too muscularly lean for some tastes. Still, the musical argument is always lucid.” --Irish Times, 21st October 2015
“Isabelle Faust and Alexander Melnikov (playing an 1875 Bösendorfer) make a strong case for the work as a whole, though even their impassioned advocacy can’t quite save Dietrich’s opening movement from sounding long- winded. In Brahms’s Second and Third Violin Sonatas, the players’ sound world may be a little too muscularly lean for some tastes. Still, the musical argument is always lucid.” --Irish Times, 21st October 2015
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