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Jerry Dubins
Fanfare, November 2017

A native of St. Petersburg, Russia, Kalinovsky is mainly a made-in-America violinist, graduating from the Manhattan School of Music, where he had the opportunity to study with Pinchas Zukerman. Kalinovsky concertizes internationally and is on the faculty of Indiana University. He makes his way through Weinberg’s very thorny writing with absolute finger and bow control, never a squeak or a squawk in passages of heavy double-stopping, and a penetrating but not piercing tone of rich and complex colors that he’s able to mix and moderate to fit the music’s moment. Russian-born pianist Tatiana Goncharova is also a well-recognized artist on the international concert stage, and has served on the faculty of the Manhattan School of Music—where I assume that she and Kalinovsky met—since 2005. Like Kalinovsky, she has her work cut out for her in these Weinberg sonatas, and there is not a moment in which she isn’t at the ready to support Kalinovsky and dialogue with him as an equal partner. © 2017 Fanfare Read complete review

Joseph Magil
American Record Guide, July 2017

Grigory Kalinovsky and Tatiana Goncharova are very accomplished musicians with a good feel for this music… © 2017 American Record Guide

Bob Stevenson
MusicWeb International, June 2017

The violinist is excellent, with a pure tone and secure intonation and none of those slightly distracting technical foibles one often finds—even with well-known performers. The pianist is equally secure and reliable—especially as an accompanist. © 2017 MusicWeb International Read complete review

Review Corner, June 2017

Weinberg is recognised as one of the outstanding Russian composers of the second half of the 20th century. He was feted for his symphonies and string quartets, but also wrote a sequence of violin sonatas. Shostakovich’s influence is evident in the Third Violin Sonata, though the more casual listener can detect Jewish elements.

…the playing (Grigory Kalinovsky, Tatiana Goncharova) is excellent. © 2017 Review Corner Read complete review

Ivor Solomons
Classical Ear, May 2017

Weinberg has his own way of moving between moods, is often serious, and can be suave, gruff or playful. He is estimably served by the thoughtful and responsive Russian violinist Grigory Kalinovsky, who brings clarity and variety of tone to the music, and is in turn strongly supported by Tatiana Goncharova. Together they form a terrific partnership able to project this repertoire with unstinting verve and delicacy. © 2017 Classical Ear Read complete review

Lynn René Bayley
The Art Music Lounge, March 2017

Both Kalinovsky and Goncharova ride the wave of this music like an expert surfer who knows how to handle the crest of a really big breaker without wiping out. The pianist is in some cases a bit more subdued here than on the Toccata set, but only in soft passages where her variety of tone is not as subtle. By and large, she acts as a sympathetic listener to the violinist’s shifts of mood and passion. She does not lead, but wherever he goes, she goes too. © 2017 The Art Music Lounge Read complete review

Laurie Niles, March 2017

A Russian composer from the second half of the 20th century, Weinberg wrote six sonatas plus a sonatina for violin and piano. …the one-movement sixth sonata that recalls Shostakovich; very inventive and intense—not to mention beautifully performed here. That sonata was dedicated to the memory of Weinberg’s mother, and was never performed until after the composer’s death, when the manuscript was found in his archive. © 2017

David Denton
David's Review Corner, March 2017

Born in Poland in 1919, Mieczysław Weinberg lived his life in the shadow of the high-profile given by the media to his Russian counterpart, Dmitri Shostakovich. Now, with considerable help from Naxos, his music is quite quickly emerging on disc, their symphonic releases here augmented by two-disc album gathering together the six sonatas for violin and piano. Having studied composition in Warsaw and then in Russia, he moved further east to the safety of Tashkent with the onset of the Nazi invasion in 1941. It was with Shostakovich’s encouragement that he moved to Moscow in 1943, and it was there he began composing the violin sonatas. They did not play a major part in his development as a composer, but they do signpost changes that took place. The First Sonata employs the same version of tonality used by Shostakovich, to an extent that I would believe it was from his famous friend. From therein he generated sufficient interest to have his sonatas premiered by the great Soviet violinists of that era. The Second, from 1944, follows in direct lineage from the First, but with an added degree of pungency, and a growing feeling of self-confidence, his thematic having conviction as the first movement sledgehammer’s its way forward, the work’s ending coming with an unexpected and abrupt certainty. There was then a gap of three years, and like so many other composers at the time, he was not ashamed of allowing melody to return in the Third Sonata. His piano writing here is more fulsome in content, the last movement opening as if in a Jewish dance—the religion of his parentage—the mood broken by a violin cadenza to end the work in sadness.  From the same year, 1947, the quite short Fourth Sonata continues where the Third ended, before fanfares bring a military feeling to the second movement, the score eventually returning to a feeling of resignation. Six years elapsed before the Fifth Sonata, and, with an added fourth movement, it was his most extended sonata. At last he seems to have reached a musical peace with the world, but, at the same time, lost interest in the genre, the brief Sixth, from 1982, being in one movement and dedicated to the memory of his mother. The disc ends with his Violin Sonatina from 1949, a lightweight piece of popular attractions that deserves a place in the violin repertoire. Recorded in New York at seven sessions during much of 2010, the St. Petersburg-born violinist, Grigory Kalinovsky—who is now resident in the United State from where he enjoys a high-profile career—gives performances that have the feel and authority of a devout Weinberg admirer, and he is similarly partnered by Tatiana Goncharova. The two have been perfectly balanced by the sound engineer. © 2017 David’s Review Corner

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