R E V I E W S

The directness, forward momentum, sense of projection, and disciplined freedom characterizing the sonata performances reveal the extent to which Rosand has lived with and through these compositions over the course of a long career. Like Joseph Szigeti, Rosand’s tone is not especially pretty or suavely modulated, yet I’d trade the variety of his expressive palette for the faceless perfection of a thousand young conservatory hotshots any day. The G Major Sonata’s opening pages alone constitute a master class. Both the piano and violin part are marked mezza voce, but only the piano part is marked dolce too. With this is mind, Rosand simply introduces the main theme louder than usually heard. He slightly accelerates the faster notes in order to make an easy transition into the cross-rhythmic phrases up ahead. Notice, too, Rosand’s subtle, unpredictable inflections in the finale that intensify the rhythm while seemingly dispensing with the barlines, or his musicianly control of the D Minor Sonata’s exposed double stops (third and fourth movements). , I can only echo my erstwhile colleague James Methuen-Campbell’s positive assessment where he accurately cites Rosand’s “strengths of poetic insight,” incisive immediacy,” and “impeccable taste.” In all, a worthy and admirable re-release.

-- Jed Distler, Gramophone