The team of Amoyel and Bertrand must be one of the most exciting duos before the public today. They turn in positively thrilling performances of these two early, atypical sonatas, so intelligently programmed together. To hear the commitment and verve in the outer movements of the Strauss sonata, the puckish wit of the Prestissimo assai second movement of the Reger, and the poignant lyricism of the slow movements is to experience great chamber music playing. I love the way they realize the “con grazia” qualification in the finale of the Reger, tossing phrases back and forth with consistent imagination and poetry. There are no finer interpretations of these works available, of that I have no doubt, and the apt fillers, the Strauss Romance and Reger’s tiny Petite Romance, add to the freshness and charm of the total package.
So what is the problem? The sonics sabotage the artists with ridiculously close, airless sound that nearly obliterates any suggestion of subtlety and nuance. You actually can hear the action of Amoyel’s piano (or is it his fingers clicking on the keyboard?), and once again Bertrand’s moaning and groaning at every downbeat, every phrase, makes listening a chore. Given artistry at this level, these constant interruptions are irritating and inexcusable in a home listening situation. There is nothing I want to do more than unhesitatingly recommend these performances for their intensity, spontaneity, and technical merit. This release should have been a straight 10/10. I can only suggest with all due respect that both the players and the engineers reconsider the sonic framework that they have chosen to memorialize their efforts. They are not doing themselves any favors, and it’s a damn shame.
