Robert Cohen rarely fails to sound convincing in live performances, and unlike many of his rivals his intuitive musicianship seldom falters on disc either. Although these fine accounts of the Grieg and Franck sonatas date from the early years of his recording career, they are resourceful and cultivated interpretations.
There are obvious structural deficiencies in the Grieg Sonata, and it requires perceptive and sensitive handling in order that any lack of formal sophistication does not seriously impair its genuine melodic worth. Cohen and Vignoles certainly make the most of the work's Nordic sentimentality, especially in the brief central Andante with its reference to the ''Homage March'' from the incidental music written by Grieg for Bjornson's Sigurd Jorsalfar.
The Franck Sonata receives a magnificent performance, in which the recurring cyclic themes generate an architectural solidity, which is often absent in readings of lesser quality. Both players demonstrate commanding technical finesse, and their stirring advocacy of this great work surely belies its real identity as a violin sonata. This excellent recital disc, which ends with a delightful account of Dvorak's Rondo in G minor, can be highly recommended throughout.'