Lydia Mordkovitch and Geoffrey Tozer face stiff competition in this repertoire from Alexander Shirinsky and Dmitri Galynin, not only because they offer exceptionally fine performances, but also because their two-CD set offers all three violin sonatas plus the remaining (very attractive) shorter works that make up Medtner's total output for violin and piano. Having said that, Mordkovitch and Tozer may well follow this up with a second disc featuring the remaining pieces, and besides, they present performances that are as fine as those of their rivals. Anyway, the opportunity of hearing these sonatas afresh has only increased my admiration for these neglected gems, and if their appearance means that they gain even greater popularity then so much the better.
In general, Mordkovitch's readings emphasize a more lyrical and relaxed approach (as opposed to Galynin's more intense and passionate readings), and this is particularly so in the lyrical first movement of the short, attractive First Sonata—a little too relaxed perhaps in the outer sections of the lilting second movement ''Danza''. Elsewhere (for instance the Allegro appassionato and Finale-Rondo of the Second Sonata), I sensed in Mordkovitch's performance a more intuitive grasp of structure which allowed the music to unfold with a degree more ease and direction. Nevertheless, in their own way, both artists are persuasive interpreters of these works and can be strongly recommended to the first-time explorer. The recorded sound is warm and well balanced.'