These are admirably disciplined, unidiosyncratic accounts of two of the most demanding sonatas (for listeners as well as players) in the repertoire. For all their skill, however, Monch and Damerini have not penetrated as far into the complexities of the music as have Kremer and Smirnov, whose Hungaroton disc admirably balances excitement and exploration. As recorded here, Damerini's piano sound is rather bulbous, with a tendency to the monochrome, while Monch's violin is a little short on fantasy and is frequently outgunned. The Rhapsody is more enjoyable but still has less eloquence and idiomatic conviction than Osostowicz and Tomes on Hyperion.
There is still room for alternative interpretations in this (for once!) under-recorded repertoire. The dazzling Kremer/Argerich First Sonata on DG is a perfectly valid, though somewhat extreme view, while the Bartok/Szigeti live recordings (Washington, 1940, now available on Vanguard), if hardly faultless, are obviously a vital point of reference.'