An enterprising coupling. Both sonatas have been recorded before: the Balakirev by Louis Kentner (Columbia—nla), Ronald Smith (EMI—nla) and Albert Ferber (Saga—nla) and the Dutilleux by John Ogdon (EMI—nla) but neither work is represented in the CD catalogue. The late and much lamented Roger Fiske welcomed this young American pianist's record of the MacDowell concertos (Archduke Records LARC1, 12/86; CD DARC1, 6/87) and its successor is hardly less successful. Donna Amato has an impressive pedigree both in the United States and here in Europe where she has studied with Noretta Conci, Louis Kentner and Guido Agosti.
The provenance of the Balakirev Sonata is not as extraordinary as that of the First Symphony, which spanned no less than a quarter of a century. The second movement was completed five years before the rest of the Sonata, and published independently as Mazurka No. 5 in D, but this itself had begun life almost half a century before in 1856 as part of an earlier sonata, also in B flat minor. I have always been puzzled by the neglect of this work, which has warmth, poetry and a fine sense of architecture. Indeed, its first movement is one of the most remarkable pieces he ever wrote: it is in effect (to quote Gerald Abraham) ''a reconciliation of fugue with sonata form—or at least with its broad outline of statement, development and recapitulation''. Donna Amato gives a musicianly account of it: hers is a well paced, persuasive performance, though not so freely expressive as either Kentner or Ronald Smith, both of whom offered some magical touches in the slow movement.
The Dutilleux Sonata is periodically encountered in the recital room and on the radio in this country. All the same, it has never established itself in the affections of a wider public here though it enjoys classic status in France—and rightly so! It is an inventive and satisfying piece, whose fastidious craftsmanship and exuberance command admiration. It dates from 1947, three years before his marvellous First Symphony, which appeared a few months ago on Harmonia Mundi (CD HMC90 5159, 3/87). Compact Discs can accommodate around 70 minutes these days and it seems a pity that this artist did not give us some other Balakirev pieces. The acoustic is more open than EMI offered Smith or Kentner in previous decades, but not ideal, and although it is eminently acceptable, the recording as such is not as successful as, say, Pascal Roge's recent Poulenc disc on Decca (CD 417 438-2DH, 7/87). None the less this can be warmly recommended.'