Few musicians were more significantly linked with a single composer than the late Hungarian-American pianist György Sándor with his teacher Béla Bartók. The authoritative recordings of Bartóks music that Sándor made for American Columbia between 1945 and 1955 and decades later for Sony Classical during his golden years. It also contains his justly famed interpretations of composers ranging from Bach to Rachmaninoff.

In this wonderful DSD 256 recording, cellist Lorenzo Meseguer and pianist Mario Mora bring together four composers who have historically been undervalued. From Fanny Mendelssohn’s Fantasia to Gustav Jenner’s Sonata in D major, the album also includes Felix Mendelssohn’s Sonata op. 58, a masterpiece for this combination, and an arrangement for cello and piano of Clara Schumann’s Three Romances op. 22.

This disc is a direct competitor to Schumann, Dvorak: Piano Concertos - Paolo Giacometti and in even in terms of artists employed they are comparable: both have young and up-coming pianists accompanied by less familiar orchestral/conductor partnerships. In the end, this release is more succesfully artistically, honours split with regard to sonics. Whilst there is little competition for the Dvorak (although what exists is heavyweight), the same cannot be said of the Schumann concerto (even on SACD) and Helmchen has many illustrious names to compete against.

Since their release in 1972, these recordings have been highly regarded for their transparent orchestral textures, thus overcoming the frequent criticism that Schumann's orchestration of these symphonies was clumsily dense. The performances are superb. Sawallisch has a mastery of orchestral dynamics which is crucial to successfully performing these works. Much of Schumann's musical vocabulary and emotional expressiveness in these four symphonies is due to the extreme and unexpected transformations in their dynamics, especially in his symphonies nos. 2 and 3.