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Jeremy Dibble
Gramophone, January 2016

BEST ARCHIVE

Made in 1935, towards the end of Sammons’s glittering career, this first recording of the Elgar Violin Sonata connects us with the composer’s own era and gives us a fascinating insight into the Edwardian interpretative style that was inherited by Sammons. © 2016 Gramophone




Penguin Guide, January 2009

Albert Sammons was the greatest English violinist of his day, and he possessed a wonderful breadth of phrasing and sensitivity. His account of the E flat Sinfonia concertante, K. 364, remains one of the greatest performances of this masterpiece on record. It comes closer to Mozart than most subsequent recordings, particularly in the rapt, inward exchanges between the two soloists in the slow movement. Quite wonderful in fact. The fill-ups complete a splendid further tribute to Sammons’s artistry.



Paul Driver
, May 2005

"This survey of the violinist Albert Sammons's career makes available a new transfer of his celebrated 1933 recording with Lionel Terris - the work's first ever - of Mozart's Sinfonia Concertante for Violin and Viola, K364. As the booklet points out, these are two of the greatest string players Britain has produced, and their music-making together is profound...their andante is among the most moving things on disc. Sammons's account with his pianist, William Murdoch, of Elgar's late sonata is gripping and affecting."



James Manishen
Winnipeg Free Press

"Albert Sammons was Britain's pre-eminent violinist until Parkinson's disease disabled him in 1948. Lionel Tertis was the father of the modern viola, elevating it to solo status at a time when it was the unsung cousin to the fiddle. Sammons and Tertis played often together, here in this excellent re-mastering of the Mozart's first-ever recording from 1933. Sammons' portamentos are old fashioned but finely judged, his other musical instincts unfailing. Tertis was always a player and a half whose prowess still shines here. His own eccentric cadenza is used in the first movement rather than Mozart's, but this is a glowing account, full of personality with nice detailing from Hamilton Harty and the London Philharmonic. Sammons' recording of the Elgar Concerto (also on Naxos 8.110954) is one for the ages and the Sonata here partners it entirely. Everything sits right. Sammons' sweet tone underscores his label as the `English Kreisler.' His control over Elgar's wistful phrases is as masterly paced as the music itself. A few short pieces round out this valuable reissue. ****1/2 (four and a half)"





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