To such an extent is his name associated with the organ, to whose literature he made notable contributions, that it comes almost as a surprise to come across chamber works by Vierne; and their stylistic classicism and romantic emotionalism left them largely disregarded by a musical world transformed by the influence of Debussy (who was actually his senior). Now that we are free from the pressures of the changing fashions at the start of the century, it can be seen that when the great violinist Ysaye, who had commissioned Vierne's Violin Sonata, rated it second only to that of Franck, he was by no means speaking idly. Recognizably Franckian in some of its melodic contours, harmonic progressions and pianistic figurations, it combines brilliance with ardent lyricism—qualities admirably brought out by the present two artists (who won praise last September for their sonatas Saint-Saens sonatas)—and is well worth incorporating into the violin repertoire in general. Particularly striking are the vigorous thrust of the initial Allegro, the dark passion of the finale, and the unusual scherzo, with what to me seem sinister overtones. An intriguing neglected work, excellently played and recorded.
The Piano Quintet, written in 1917 in memory of the composer's son killed that year in the war, is filled with, in his own words, ''an energy as fierce and furious as my grief is terrible''. The intensity of feeling is unmistakable, from the sombre opening to the bitterly pungent finale (which is preceded by violent outbursts); but there is not much contrast to the very full texture and sonority (despite a tender second subject in the opening movement), so that, especially with the Viotti Quartet's unrelievedly strenuous playing, the ear becomes somewhat fatigued. It is from most other points of view a well-wrought work, but its weakness lies in the unmemorable nature of its themes. These are a lot less clear-cut than in the earlier Violin Sonata: a case in point is the mournfully meditative viola subject which opens the central movement, which begins arrestingly but becomes straggly and meandering.'