The accompanying booklet tells us that Beethoven first published his Op. 5, dating from 1796, as ''Deux Sonates pour le Clavecin ou Piano-Forte avec Violoncelle oblige''. The title seems peculiarly apt for this performance of the F major Sonata. Dark in tone and sparing of vibrato, the cellist seems only to be playing an obbligato role—particularly in the long Allegro. This is somewhat ironical since Patrick Cohen deliberately chose a Hammerflugel contemporaneous with the music itself in the belief that it created ''an exceptionally successful balance between the two instruments''. To my ear, its cutting clatter upsets the balance far more than any modern grand ever could. I could also have done without a few little rhythmic quirks presumably introduced in the name of 'expression'.
Perhaps because Beethoven himself had learnt a thing or two about register, figuration and general give-and-take, the G minor Sonata comes over far better from these two early-music orientated Frenchmen. Promoted at last to the rank of equal partner in what is plainly a more strongly motivated work, Christophe coin emerges more vibrant in tone and phrasing. But with memories of BBC2's recent TV Beethoven cello sonata series still so fresh, I'm bound to say that I think England's younger generation remain in the lead. The natural-toned CD brings both artists to your side.'