The previous two instalments of this series (9/95 and 5/96) were notable for the warmth of tone Cortese brought to repertoire too often marred by rawness. In some of the pieces, generally not those from the 1920s, this worked very well, but in those from Hindemith’s most radical decade there was a tendency for the extremes to be evened out. With the present volume, rather the opposite occurs. The late-romantic lyricism of the early F major Sonata, Op. 11 No. 4 comes over as slightly saccharine, unlike both Imai and Kashkashian who possess a much leaner sound. But in the more acerbic Second, Op. 25 No. 4 (1922), Cortese’s warmth is persuasive in a way it was not for the unaccompanied Sonata, Op. 25 No. 1 in Vol. 2 (5/96).
Cortese is at his best in No. 3 (1939), giving a performance of real depth that edges out Imai’s and even the composer’s own, revelatory though that is, from the top spot – though some might prefer a quicker pace. On balance, I would recommend this newcomer as first choice in the sonatas and Meditation (from Nobilissima Visione). The Trauermusik is a bonus, though it does not supplant the Walther-Blomstedt version and most coming to this disc will already have the Decca recording. Enough material exists for a fourth disc – duets for two violas and viola and cello, a Sonata (Op. 25 No. 2) and Kammermusik No. 6 for viola d’amore, plus the viola-heckelphone-piano Trio (Op. 47) – which I hope will follow in due course.'