Krosnick and Kalish's view of the F major sonata Op. 99 is more conventional but no less deeply felt. The first movement really surges with passion, and the cello's throbbing chords toward the end of the exposition seem to bubble up from somewhere very deep and dark. Kalish plays an 1876 Steinway that lacks the rich bass tones produced by modern pianos, thereby providing a very natural balance between the two instruments.

Following these intense and compelling readings of the two sonatas, Kalish's performance of the Three Intermezzi for solo piano Op. 117 appears a bit matter-of-fact--despite the pianist's rather free use of rubato. The first piece of the set is especially lacking in tenderness. There are no such complaints about the Op. 114 trio, however. The clarinet part is taken by a viola here (played by Samuel Rhodes), and although at first you may miss the contrast and atmosphere provided by the clarinet's soft, smoky tone, the dark, leathery, homogeneous sound of the viola/cello combination is equally persuasive. Rhodes and Krosnick played together for years as part of the Juilliard Quartet, and their sound is beautifully blended--not just tonally but emotionally. The sound quality is excellent, affording realistic presence to the strings and finely judged balances with the piano. Arabesque is issuing this as a "twofer", so while Kalish's solo performance slightly disappoints, it's still a real bargain.