An account of the parent sessions for this record was given in ''News & Views'' in April (page 1141). Everything in studio routine seems to have gone right first time, as it were, which is certainly a promising start. Even better is to be able to report now that not only did the studio routine go right, but so did the music: this is something like a stunningly beautiful performance of the Elgar sonata. Every phrase is winningly shaped by the two players; and shaped, too, in total sympathy, one of the advantages of being a regular duo, especially when the partners are of like musical mind (as is obviously the case here). Often the wartime chamber music of Elgar seems pale, dull even; more certainly it is different in apparent outlook from much of the earlier more extrovert music. This duo have the knack of not trying to turn the sonata into a reflection of one of those earlier works, but to let it flow naturally in its own somewhat reserved style. In just about every respect at once, I never hope to hear a better performance of the sonata than this. Kennedy himself, I am sure, would promptly say, ''Ah, but you should have heard Sammons.'' Which I did, and with similar admiration. But never, I think, in this particular work; now I can feel that the omission has been made good.
Sammons would also have done marvellously with the smaller pieces on the reverse of the LP; so does Kennedy, perhaps unexpectedly. Unexpectedly, because light music usually lies outside the understanding of today's young players; educated and brought up under stress, a sense of relaxation (listen to today's jazz!) is seldom achieved. But this duo achieve it; the sometimes very simple pieces, technically, again go absolutely right. In Salut d'amour the addition of a cellist completes the Cadena Cafe sound, with one material difference: in those cafes the trio concerned was seldom a patch on this one. Similarly, with the other pieces, quite often used as teaching material; here few pupils can be expected to make, yet, the sound of Kennedy and Pettinger. But all of them will benefit greatly from hearing their repertoire played thus.
The recorded sound is good without having quite the presence of the best; and it keeps the two players in very good balance. An Elgar record to treasure.'