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Mark L Lehman
American Record Guide, September 2016

Violinist (and violist) Charles Wetherbee and pianist (also annotator) David Korevaar are expert, sensitive, and committed performers who bring this forgotten music to vivid life. © 2016 American Record Guide Read complete review on American Record Guide

David Denton
David's Review Corner, May 2016

This disc follows the totally forgotten compositional career of the Hungarian-born, Tibor Harsányi, a Kodaly pupil who lived in the first half of the 20th century. Born in 1898, he was to spend much of his life in Paris, where he fell under the influence of many other expatriates who had arrived there in the years following the First World War. Opening with a Violin Sonatina whose style and content belong to the late romantic era of the 19th century, it is pleasing and with readily assimilated thematic material. We make a quantum leap forward in the Violin Sonata from 1926. By then, he had assimilated the essentials of the Second Viennese School without deserting the need to find a form of melody or rhythmic pattern for the listener to latch onto. The central Lento tends to look backwards, before the jerky rhythm of the finale proves ear catching. But the major change comes with the interplay between the two instruments rather than the violin and accompaniment of the Sonatina. Three dances for solo piano show that the ‘naughtiness’ that was fashionable in Paris at that time impinged on his career. From the end of his life, in 1954, the Viola Sonata rather backtracks using a modern tonality as an answer to atonality, though the instantly memorable aspects of earlier works was eluding him, and it is only in the very active finale that the score recalls his earlier successes. These are all world premiere recordings that I take at face value, Wetherbee centring every note, the balance between instruments so perfectly judged and with David Korevaar a tonally fulsome pianist partner. © 2016 David’s Review Corner

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