Notes and Editorial Reviews
...Though differences are far from extreme, the slightly swifter tempos chosen by Osostowicz and Tomes for the faster movements of all three sonatas results in greater melodic liquidity, which coupled with the hypersensitive suppleness of Osostowicz's phrasing somehow evokes a more romantically impressionable and vulnerable Brahms, a Brahms his closer friends might have encountered in the later half-lights of the day. Tomes in her turn is even more attentive to detail than [Pascal] Roge, whether in the context of harmonic surprise, hidden melody, or variety of touch, so as to present a composer no less interested in textural colour than constructional cunning. Their interplay is subtle enough to suggest that for both artists, these
performances were a revelatory voyage of discovery. And without any wearing of heart-on-sleeve they certainly make nonsense of the charge that Brahms could never exult. He himself I'm sure would have loved the playfulness they bring to the contrasts of the third movement of the last sonata, and even the middle movement of the second, where slow movement and Scherzo are compressed into one.
-- Gramophone [11/1991]
reviewing the original release of this title, Hyperion 66465
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