Editorial Reviews

The first thing noticed when opening this disc is the slim (literally) offerings in the liner notes. They sadly provide no information about the performers, omit the text and translation of the Op. 91 songs, and include vastly inaccurate track timings.

The recording itself offers two very divergent types of performance. The two songs, Op. 91, are quite pleasant. The mezzo-soprano and the lower register of the viola combine in such a way that it's a wonder that Brahms did not compose more for this type of ensemble given his fondness for the viola. In these two songs, the viola is generally confined to its lower registers, allowing the vocal part to rise above it. The mezzo-soprano has a very gentle, velvety tone color, and paints the text (which you'll obviously have to find elsewhere) beautifully.

These two gems contrast sharply with the performance in the two sonatas of Op. 120. Originally scored for clarinet and piano, they were later transcribed by the composer for viola and piano. The star in this performance, however, is the pianist rather than the violist. Jacobson's control of the thick Brahms texture is admirable, and her voicing allows every note in her part to be clearly heard. Silverthorne's performance, in contrast, is mired by intonation difficulties, especially when playing double stops. His tone on the A string is quite thin and at times forced and does not match the color of the other three strings on his instrument. Mike Brownell, All Music Guide

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