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Dave Saemann
Fanfare, January 2017

The performances by Laurence Kayaleh and Stéphane Lemelin are marvelous. Both artists are blessed with considerable technique, and their partnership is hand in glove. Catoire’s music requires tremendous insight into style and construction; these two artists leave you feeling that the works are presented as perfectly satisfying wholes. …This is music that, when performed as beautifully as it is here, repays repeated listening with warmth, sensitivity, and intelligence. Highly recommended. © 2017 Fanfare Read complete review

Maria Nockin
Fanfare, January 2017

…its sound is clear, clean, and pleasantly warm. Kayaleh and Lemelin’s instruments are well balanced so that the violin is just slightly in front of the piano. I enjoyed this trip to Romantic early 20th-century Russia and I think listeners who like the music of Wagner and the French Impressionists will want to have this exquisite recording. © 2017 Fanfare Read complete review

Mark Novak
Fanfare, January 2017

Violinist Laurence Kayaleh and pianist Stéphane Lemelin are a terrific partnership in this music always seeming to be on the same page musically.

…confident and robust playing on display from Kayaleh and Lemelin. Recommended. © 2017 Fanfare Read complete review

Maria Nockin
Fanfare, November 2016

Each of these pieces has a well thought out structure and an ecstatic Romantic fervor that sweeps the listener into the magic of Catoire’s musical images and textures. The brilliant performance by violinist Laurence Kayaleh and pianist Stéphane Lemelin is lively and its sound is clear, clean and pleasantly warm. © 2016 Fanfare Read complete review

Don O’Connor
American Record Guide, November 2016

The performances are fervent and convincing. Kayaleh’s tone is rich and dark with a bit of an edge that works fine in this music. Pianist Lemelin’s accompaniment is an ideal foil for her artistry; it’s well phrased, with fluid fingering and transitions. © 2016 American Record Guide Read complete review on American Record Guide

Daniel Jaffé
BBC Music Magazine, October 2016

Laurence Kayaleh and Stéphane Lemelin give flawless and beguiling accounts of this gorgeous music. © 2016 BBC Music Magazine

Richard Bratby
Gramophone, September 2016

Large-scale music, …and Laurence Kayaleh and Stéphane Lemelin give it largescale performances. That’s all very well up to a point; they’re both powerful players and the music often suits a red-blooded approach. They’re at their best in Catoire’s grand, cascading climaxes. © 2016 Gramophone Read complete review on Gramophone

David Denton
David's Review Corner, July 2016

This is my first encounter with Georgy Lvovich Catoire, his affection for Wagner placing him as an outcast in the new nationalist school of composition in Russia. Yet Tchaikovsky recognised his worth, and encouraged him to seek advanced tuition, though that made matters worse as he looked for that in Berlin rather than his homeland. His two violin sonatas date from 1906, by which time he had moved to a generalised late-Romantic style you would associate with Richard Strauss. Maybe there is the need for melodic invention that grips attention, and, as was so prevalent at that time, the sonatas are heavily slanted towards the piano, the violin spinning decoration around the keyboard where the weight and substance resides. The First is in a conventional three movement structure, its dramatic piano opening setting the scene for an extended and muscular Allegro, the melody of the work’s central Barcarolle couched in melancholy, the mood of the first movement returning in a bustling finale. The writer of the sleeve note finds Debussy’s influence in the Second Sonata—a work titled ‘Poeme’—and those French connections often move the work into a heavily perfumed world of sensuality. The disc, which contains Catoire’s complete works for violin and piano, ends with a short and sad Elegy probably dating from his teenage years. I have in the past written enthusiastically of the Laurence Kayaleh/Stéphane Lemelin duo, and Lemelin certainly relishes the writing that makes the type of demands we would associate with Liszt. Maybe the recording engineer could have given Kayaleh a more positive balance, but please do discover Catoire. © 2016 David’s Review Corner

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