From this most sentient of partnerships of Timothy Hugh and Yonty Solomon comes a release of vivid presence: the first three Beethoven cello and piano sonatas in performances which compare well with any in the catalogue.
The Sonata No. 2 in G minor is built from the firmly defined contrast of hard, bright chords and long, finely shaded melodic line which, in Hugh's bow, can taper to the almost inaudible without any loss of intensity. The opening sustained movement is played as if there is all the time in the world—to perfect a pair of poised notes, to fine-hone every phrase ending. A powerfully contained sombre undertone of voice is maintained in the taut rhythmic vigour of the ensuing Allegro molto, so that the real joie de vivre can burst out of the Rondo allegro in the dancing lights of the piano and the tingle of the cello's accompaniment.
The Third Sonata is the high point of the disc. Here, Hugh sets out a cultivated song, emphasizing the non troppo of the Allegro. Without an expressive lump or bump in sight, he and Solomon carry the theme almost trancelike into the thin, high air of the development before following it with a marvellously spiky Scherzo, full of wit and surprise.'