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Robert Maxham
Fanfare, July 2016

Becker-Bender and Nagy don’t seem to be among those who conceive Bartók’s music primarily as a rigorous exploration of dissonance; and their moving it from center stage, though hardly underplaying its jagged power (as in the Solo Violin Sonata), allows it to speak naturally and, in general, cogently. © 2016 Fanfare Read complete review

Joseph Magil
American Record Guide, July 2016

The most satisfying performance of a work by the mature Bartok by Becker-Bender is of the Romanian Folk Dances. It is a good performance with plenty of enthusiasm… © 2016 American Record Guide Read complete review on American Record Guide

Terry Robbins
The WholeNote, April 2016

There’s terrific playing from both performers, with Becker-Bender mixing toughness with the brilliance where necessary without ever compromising the interpretation. The second movement of the Rhapsody No.2, in particular, is quite superb. © 2016 The WholeNote Read complete review

Rob Cowan
Gramophone, February 2016

The earliest works included are the rarely heard Andante in A major for violin and piano (1902) and, rather more familiar, the Straussian E minor Violin Sonata, into whose rhapsodising world Tanja Becker-Bender ushers us with warmth and conviction.

Pianist Péter Nagy holds the high musical standard with a memorable performance of the Piano Sonata, …full of differing grades of tone and colour, especially in the finale. © 2016 Gramophone Read complete review on Gramophone

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