An album of this sort seems as much concocted to present a portrait of the artist as to offer interpretations of the music–and there’s no arguing here about the fact that violinist Nathan Milstein plays with supreme virtuosity. Just listen to the scherzo of the Prokofiev, in which he tosses off difficult passages with ease. Throughout all of these sonatas his technique and intonation are sure and steady. But he also has something most players do not, a heightened sensitivity to the singing line, a quality that’s brilliantly exhibited in the third movement of the Prokofiev and in the broad, majestic opening of the Handel. This is noble and patrician playing of the highest order, an art that cries virtuoso and serves the music in the same instant. Milstein’s accompanists always were more like partners, and Artur Balsam and Leon Pommers were two of the best. The mono sound is as good as the old Capitol Full Dimensional Sound logo would lead one to suspect.
