Although these are unquestionably performances of impeccable musicality and taste, I found that Goldberg's tendency to underplay his part at times led to a little disappointment. In the A minor Sonatina of 1816, with its almost obsessional pathos, the two instrumentalists are models of classical purity, but the Pole is a bit static in the slow movement. Their hypersensitivity and immaculately polished use of tone are employed to keep the music within limited emotional confines. Goldberg's reticent way with the A major Sonata-Duo in particular makes the piece emerge as rather small-scale. The recorded balance between the two is relaxed and pleasing in these pieces.
By the time they came to record the Fantasia in C, Schubert's most notable work in this genre Goldberg was already 70, and there are a few highly uncharacteristic technical imperfections in his part. Lupu is much more to the fore in the balance here and definitely dominates the proceedings. Despite Goldberg's playing being on the careful side, this is in many ways a distinguished reading, with Lupu's magical piano tone being largely responsible for this.'