Between any composer's Op. 5 and his Op. 104 there is likely to be, and indeed should be, a considerable distance in style; in Hummel's case, the two examples on this record link the world of classicism in which he grew up and the new Romantic currents that were to carry him in novel directions. Well, fairly novel directions. The Viola
Sonata breathes the whole world of Mozart and Haydn, both of whom taught him, as well as that of his other teachers, Salieri and Albrechtsberger. In the Adagio there is an ease of melody and a skill in handling the material that makes up for the enjoyable but slightly predictable opening movement and balances with the easy-going finale. The playing is clean and strong from the violist, and clear-textured from the pianist (whose instrument is not identified: it has a pleasant sound).
To move from this to the Cello Sonata of nearly thirty years later is to enter a new world. Yet even though the date, 1827, reminds us that it was the last year of Beethoven's life and that Schubert had only one more year to live, it is still more their manner than any profoundly original Romantic influence that is felt. The old skill is still firmly in place, and the old ready charm of phrase shows itself adaptable to novel harmonic and tonal ideas: the Romanza is an affecting, easeful movement, and it is well played here with a quick appreciation of its grace and of the 'darker' shadows that fall across the music. But they are not that much darker, and as often with Hummel one is left with the impression that the emotions recorded in the music are well-understood, by a most skilful and honourable composer, but not all that deeply felt. Juraj Alexander draws the utmost from the work, and certainly a listener who is not expecting too much should well be able to enjoy these two amiable pieces that show, if not great emotional range, certainly a sensitive and intelligent range of effect.'