Debussy's Violin Sonata demands a special type of refinement from its interpreter, both regarding technique and a fine awareness of response to nuance. Hugh Maguire builds an atmosphere of extreme delicacy, and yet he resists using the piece as a vehicle for overt personal expression. His violin tone is fragile and slightly nasal. Dubinsky is quite the opposite. His bowing is more confident and he luxuriates in the sound of the instrument. His wife at the piano is far more of an equal partner than is Brown to Maguire. However, so far as I am concerned the DG release retains its superiority, both on account of Mintz's magnificent technical control and the lusciously realistic recorded sound.
In the Cello Sonata Turovsky varies his dynamic range to greater effect than does Fujiwara on Denon. She may have a more introverted approach, but there is some lack of sympathy between her and Rouvier—the Frenchman sounds very much the accompanist. The piano tone here is far less resonant than with the Borodins.
I found that the Athena CD made for some rather confusing listening at one sitting. The mixture of very short pieces with substantial works is not wholly satisfactory, although as a point of reference the compilation has its value. Debussy's Sonata for flute, viola and harp comes across as warm and relaxing, even if the flute has been given too spacious a sound and the viola is under-recorded. The ensemble does not try to do very much with the music, but this is generally effective—it is only in the finale that the personality of the music is understated. The clarinet sounds wonderfully fresh in its two pieces.
However enjoyable the Borodin's way with the Ravel might be, it does not sound as authentic as with the Beaux Arts on Philips. The Russians squeeze every drop of emotion from the piece, and although I admire their instrumental and ensemble skills tremendously, I have to say that the Beaux Arts emerge as more cultivated and they have a greater appreciation of the rhythmic subtleties in the score. Also, the individual instruments are better defined regarding balance, with the piano retaining an equal place, rather than dominating the acoustic as it does on the Chandos.
To sum up, I would say that the attractiveness of these two new CDs must depend very much on which combinations of pieces one is looking for. The Athena is useful and has some fine playing. If one wants to explore some lesser-known Debussy it can be safely recommended. The Borodins offer more familiar pieces in performances that are crafted with experience and musicality, although one might easily find other recordings of the individual works to be preferable.'