[…] The first thing I noticed about this duo's playing was the clarity and balance of their instruments. Solo Musica provides them with very vivid sound reproduction, giving the listener a front-seat perspective, with the sound field favoring neither performer. The tone of Ms. Höhenrieder's piano is quite exquisite, yielding a fine legato sound throughout the register and rich but not overwhelming bass sonics. Julius Berger's Andrea Amati cello has a beautiful tone and from the opening moments of the First Sonata I only hoped the performances would match the splendid sound of the instruments. I wasn't let down. […]
[…] That said, they don't take a radical interpretive stance, but in fact capture the spirit of these works quite effectively. Try the Rondo finale in the First Sonata and listen to how ebullient the opening is, with well chosen dynamics, subtle accenting and bouncy rhythms. […]
[…] Hear their Second Sonata's weighty and intense first movement, which begins with an effectively dark Introduction (Adagio sostenuto ed espressivo). It then moves on to a conflicted Allegro main section, which mixes dire emotions and playfulness.
[…] Berger phrases the first movement's opening theme with great feeling, thanks to his deftly applied nuancing in dynamics and accenting. Höhenrieder plays with the same kind of sensitivity to the emotional flow of the music, and in the development section the two subtly work the music up to a stormy and passionate climax, the music then fading away sweetly to set up the reprise.
From the outset their bold manner with the Scherzo convinces you thoroughly: with a mixture of both muscular and dainty dynamics, they bring out the humor and mischief of the music most effectively. In the finale their playing effervesces with kinetic impulse and a subtle sense of nonchalance that infuse the mostly joyful demeanor with an utterly infectious character. […]
[…] Höhenrieder and Berger display the same virtues in these works as regards to their Romantic approach. Their second movement of the Fourth is brilliant: the Adagio introduction deftly builds tension in the first half from Berger's ominous, growling tone; the Allegro vivace effervesces as Höhenrieder imparts an especially cheerful character to the music in her subtle shifts in dynamics, and both players make the most of Beethoven's infectious and utterly joyous rhythms. A brilliant performance.
The Fifth Sonata is equally convincing in execution here: both players are ever tasteful in their tempo choices, dynamics, accenting and in maintaining a proper balance between their instruments. The first movement is an utter delight in its energy and sunny character. […]
[…] The finale is a delight, as the players capture the playfulness and mischief in the music: Höhenrieder's dynamics are subtle and the two have a masterly way with rhythms and accents. […]
[…] With Höhenrieder and Berger there is a fine balance and always a tasteful, masterly interpretive approach. […]
[…] Höhenrieder and Berger consistently find a convincing interpretive path and are on target in pointing up the spirit of each theme and variation. […]
