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James Manheim
AllMusic.com, January 2020

Violinist Charles Wetherbee and pianist David Korevaar deserve credit for unearthing this obscure and unusual music. Their performances are straightforward, and if someone else later comes along with edgier ones, those will not have happened without the present album. This is an important release in the field of 20th century chamber music. © 2020 AllMusic.com Read complete review



Records International, December 2019

Juon’s musical education provided him with a direct link to the German Romantic style of Mendelssohn and Schumann, and he has even been called the ‘Russian Brahms’. These three violin sonatas represent an important artistic statement by this neglected master, also showing his artistic evolution. The First (1898) is reminiscent of Tchaikovsky in its melodic beauty, the Second (1920) enriched with Scandinavian flavor in its mercurial character and chromatic intensity. The masterful and dramatic Third (1930) evokes an epic imagined landscape full of natural and supernatural beings. © 2019 Records International



David Denton
David's Review Corner, November 2019

Today Paul Juon is little more than a name in the history of classical music, this disc of the Russian-born composer’s three violin sonatas being most welcome. Born in 1872, he lived through to the beginning of the Second World War, and had earned a living composing an impressively wide raft of music, and by teaching composition, principally at the Berlin Hochschule fur Musik. That came to an end when ill-health forced retirement in Switzerland. Writing his three violin sonatas was spread through much of that life, the First published when he was twenty-six and the Third in 1920. He had been taught by Arensky and Taneyev, and his style of composing was locked into that era, the radical changes in music taking place through his life seemingly passing unnoticed. So we have eminently pleasing scores free of angst and with very little in the way of drama. They do, however, require a high degree of accomplishment from both performers, the piano given a role just as demanding as the violin whose score is mainly of a lyric quality. Strangely the First and Second Sonatas are in three movements and substantial in length, while the Third is in one continuous movement and quite short. Making their acquaintance has been a very pleasing diversion from the familiar violin repertoire, the performances from the North American duo are very persuasive. Charles Wetherbee’s warm tonal quality, linked with a fast vibrato, being eminently suited to Juon, while David Korevaar avoids becoming the dominant voice. Superb sound quality, probably from concert performances. © 2019 David’s Review Corner





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