The contrast with Lydia Mordkovitch, who offers a similar programme for Chandos, is intense. In big, impassioned climaxes, where one often finds Mordkovitch projecting for all she's worth, Jakowicz has a tendency to self-effacement—to hold back tonally and dynamically. There is an inwardness however in parts of the Sonata and at key points in the Myths which largely eludes Mordkovitch. The salon pieces do need more zest and colour however, and the whole recital would have benefited from a more sympathetic recording—more warmth, more atmosphere and a less penetrating treble. I find the effect in the high violin writing of Myths particularly hard to take. The last thing this subtle, luxurious music needs is harsh sound.
Choosing between Jakowicz and Mordkovitch is difficult. Fortunately there is a splendid version of Myths available from Kaja Danczowska and Krystian Zimerman on mid-price DG, and for the Sonata there's the more than adequate Wanda Wilkomirska (Polskie Nagrania)—sound not wonderful but acceptable.'