This is a selection from Zukerman's and Neikrug's four-disc set of the ten sonatas which I reviewed last year. The Spring Sonata comes first, a lovable work which receives a sunlit, unhurried account that I enjoy. However, the first movement starts nearer Allegretto than the marked Allegro and the artists then move forward in the vigorous second subject, slowing down again for the exposition repeat. Oddly enough, even the Scherzo is a bit held back, with elan firmly held in check. But this gentle performance is all of a piece and Zukerman's mastery is evident throughout.
Neikrug is less compelling and is recorded a touch backwardly as well. I was most conscious of this in the Kreutzer Sonata, for example in the slow introduction to the first movement, where both artists must be dramatically declamatory but here the violinist presents a stronger personality. Similarly, the piano's statement of the theme of the variation-form second movement is short of magic. Although this sensitive performance has much to offer, I prefer a more equal partnership, such as we get from Zukerman and Barenboim, who offer the same sonatas plus No. 8 in G at mid-price; this is an older recording but still sounds well.'