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As a showcase for the young violinist Cecilia Zilliacus’s talents, this CD fulfils its remit more than adequately. The programming is inspired, the two sonatas complementing each other perfectly. Apparently Zilliacus made her UK debut in October 2001, with the BBC National Orchestra of Wales under Petri Sakari. On the basis of this disc, it is to be hoped that she returns to these shores often.

How interesting it is to have these two prominent 20^th-century Hungarians shoulder to shoulder. Perhaps the Dohnányi is the more approachable piece of the two. Stig Jacobsson’s notes refer to this composer as ‘the missing link between Romanticism and Modernism’, and that comment holds true for the First Violin Sonata. It is performed with the fire and enthusiasm of youth here. The wistful opening sets the tone. Zilliacus is capable of a very affecting half-tone and can be touching when required (end of the first movement, for example). The dancing, echt-Hungarian finale, Vivace assai, comes across with great energy (the contrasting lyrical theme has the effect of a musical ‘stretch’!). Both players rise to the virtuoso demands triumphantly. Lundin copes with Dohnányi’s difficult part with aplomb. The competition is not great in the catalogue: Tasmin Little and Martin Roscoe on ASV and an historic account by Oscar Shumsky on Biddulph offer the greatest threats, but Zilliacus and Lundin provide a perfectly convincing case for the piece. You will not be disappointed by them.

There is much more rivalry for the Bartók, however. David Oistrakh, Kremer and Stern all make their presence felt, plus there is an excellent and probably more directly comparable recording from Isabelle Faust on Harmonia Mundi. Despite this, Zilliacus acquits herself well, and Lundin seems to relish the opportunity to flex his pianistic muscles. Technically, Zilliacus is amazing, whether in the fast passages, when spinning a high-lying line or while setting the pulse racing in the finale with Lundin hardly less impressive here. There is real concentration in the second movement extended solo violin, not to mention real control, and it is this movement that is the crowning point of this rewarding disc. The finale is hardly less impressive, dripping with confidence from both players. The race to the end is guaranteed to set your pulse racing.

A triumph all round, then. The recording is exemplary: clear, clean yet atmospheric. Strongly recommended.

Colin Clarke

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