In the Franck sonata it is remarkable how Amoyal and Rogé allow themselves greater freedom over rhythm and tempo without ever seeming undisciplined. So the opening Allegretto even more than usual emerges as a dreamy meditation, a happy preparation for more serious arguments later. With speeds in all four movements generally a degree broader, this is a reading full of fantasy, giving the impression of music emerging spontaneously on the moment.
This is certainly so in the finale, with its opening theme in canon between piano and violin, and the coda brings at the end a winning rush for the post,a far more marked accelerando than in the Chung or Perlman versions, speaking not of poor discipline but of sheer joy.
The full and immediate recording helps, and so it does in the Chausson, which receives just as warmly spontaneous-sounding a performance. --Gramophone
The full and immediate recording helps, and so it does in the Chausson, which receives just as warmly spontaneous-sounding a performance. --Gramophone
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