Listening to the recording as a whole, what really impresses is not just
the tonal quality of Humphreys’ playing, which is finely focussed, but also how
her duo partner Joseph Tong varies his approach from the earlier works that
have a certain precision to the later ones, which have a greater sense of romantic
flair.
Sibelius might have harboured ambitions to be a concert violinist that
were never truly realised, but what he left the world instead included the
delightful duo miniatures included here, the violin concerto (of course) and a
lovely late suite for violin and small ensemble, which deserves to be better known. Throughout
all these, he penned works that possess the stylish sense of line and ambiance
that was his own particular preserve. There’s nothing wrong with the melodies,
be they spun with delightful artfulness in the ‘Religioso’, Op. 78 No. 3 or the urbane rusticity of Danses
champêtres Op. 106. There is much else to enjoy, too, in the piano
writing – nowhere more so than in the tolling bells of ‘Die
Glocken’, Op. 115 No. 4.
How do Humphreys and Tong compare to the competition? The short answer is admirably well. Their recording is more focussed and clearer than that of Kaija Saarikettu (violin) and Hui-Ying Liu (piano) on the Finlandia label. I find their recording is more resonant in terms of acoustic and more Romantically rich in timbre to really show Sibelius off in his best light. Better by far to turn to the latest recording by Fenella Humphreys and Joseph Tong. It is a recording that will repay repeated listening. Useful liner notes accompany the release.
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