While there is nothing wrong with strength, there is plenty wrong with strength without sensitivity. Without strength, the enormous difficulties of Brahms' Violin Sonatas -- the speed, the intonation, the double- and triple-stops -- are simply impossible. But without sensitivity, the enormous interpretative difficulties of Brahms' Violin Sonata -- the depth, the soul, the soaring lyricism -- are equally impossible. And while there is no denying that violinist
Barnabás Kelemen, young though he is, has the strength, there may be some question as to his sensitivity. He can execute anything in the scores -- his fleetness and flexibility are terrific and his tone and intonation are tremendous -- but the music behind the scores seems beyond him. Even with the support of master pianists
Tamas Vasary,
Kelemen sounds like he is either unable, unwilling or unaware of the soulful depths of Brahms' Sonatas. Listen to his performance of the heartwarming G major Sonata: is his first theme of the opening Vivace ma non troppo glorious? Is his tone in the central Adagio ineffable? Is his tone in the closing Allegro molto moderato profoundly human? Stick with the old
Suk/
Katchen or the
Dumay/
Pires recordings, where strength is matched by sensitivity. Hungaroton's sound is clear and close.