These two sonatas, originally written for clarinet, marked the end of an intense period of depression for Brahms, during which his creative energies had all but faded. Kim Kashkashian, whose command of the viola unearths an even deeper realm of possibility in this already engaging diptych, faithfully captures the somber circumstances of its creation. In doing so, she shows that the viola is no less an instrument of breath, drawing from deep within her lungs the sheer vocal power required to carry across such arresting music.

The viola was Hindemith's instrument (though he could play almost any), and he wrote some of his most expressive chamber music for it. This two-disc set includes all four of Hindemith's sonatas for solo violin and the three for viola and piano. I prefer the wildness of Hindemith's earlier music to the sometimes arid calm of his later music, so listeners like myself who like Hindemith can have a feast here as most of these are early works. They are played with energy and passion by an outstanding violist and a fine pianist.

These soulful Spanish and Argentinean songs arranged by violist Kim Kashkashian and pianist Robert Levin are well suited to their expressive and expansive playing. Most of the songs, ranging from works by Granados, de Falla, and Montsalvatge to early Ginastera, are written in a late romantic to early modern idiom, and many incorporate a strong folk element. The selections include rowdy, rhythmically charged dance-like songs, tender lullabies, and many flavors of love songs, from the exultant to the despairing. In addition to the better-known composers, Argentineans Carlos Guastavino and Carlos López-Buchardo make extraordinarily fine contributions. The choices of repertoire are excellent; each one of these songs is a jewel, and the ordering of the selections artful, including the surprisingly effective repetition of two songs at different points in the program. The transcriptions are inventive and imaginative, with the vocal lines idiomatically adapted for the viola's expressive capabilities.

This powerful record brings together two of the most seminal works for viola and orchestra of the twentieth century. Although these pieces are as different as they are similar, together they form a distinct balance of sentiment and execution.

An exceptionally fine performance of the Mendelssohn string quintets by Jaime Laredo, Ani Kavafian, Heiichiro Ohyama, Kim Kashkashian and Sharon Robinson can be found on CD45883 (61 minutes: ADD). These are rhythmically alert and spirited readings, played with great charm and eloquence. They are an especially welcome addition to a catalogue that sports no rival version of No. 1 and only one of No. 2. The 1978 recording is one of the best in the batch, exceptionally well balanced with a fine feeling of depth and presence. Strongly recommended. (Gramophone)

Kim Kashkashian brings Armenia’s leading contemporary composer to ECM New Series in a programme that also explores the roots of Armenian music. Compositions by Tigran Mansurian for viola and percussion, played by Kashkashian and Robyn Schulkowsky, receive their premiere recordings here, and frame a selection of Mansurian’s arrangements of the music of Komitas.

The poetry and radiance of Bachs cello suites (BWV 1007-1012) are transfigured in these remarkable interpretations by Kim Kashkashian on viola, offering a different kind of somberness, a different kind of dazzlement as annotator Paul Griffiths observes. One of the most compelling performers of classical and new music, Kashkashian has been hailed by The San Francisco Chronicle as an artist who combines a probing, restless musical intellect with enormous beauty of tone. An ECM artist since 1985, she approaches Bach s music with the same commitment as revealed in her other solo recordings, the legendary Hindemith sonatas album and the widely acclaimed (and Grammy-winning) account of Kurtág and Ligeti.

This beautifully programmed CD presents three settings for viola and orchestra and a more eloquent statement about the beauty of the viola as an instrument would be hard to imagine (except for perhaps including Vaughan Williams' 'Flos Campi'). The viola finds that middle voice between violin and cello, a rich tone with a built in quality of mournfulness. That quality has inspired the works on this recording and the result is some of the more wistful music ever written. Dennis Russell Davies conducts the Stuttgart Chamber Orchestra with the superb violist Kim Kashkashian.

The first two works are for viola and a battery of percussion instruments. Pourtinade, in nine sections with highly descriptive titles whose order is decided by the performers, elicits every possible sound and color effect from the viola, and an extraordinary range of blending and contrasting textural timbres from the instrumental combinations. "Redwood," inspired by Japanese woodcuts, uses the percussion as melody instruments; often it seems incredible that a single player can produce such a wealth of sounds. Opening softly and mysteriously, it becomes quite active, and then a beautiful viola solo fades away. The Shostakovich Sonata, written in the shadow of death, is heartbreakingly moving in its lamentatious mournfulness and turbulently desperate outbursts. The piano texture is pared down to skeletal spareness; the viola mourns in the dark low register and soars radiantly up high. The Scherzo is defiantly sardonic; the Finale, full of quotes from Beethoven, ends in resignation. The playing is beautiful and projects the changing moods with a riveting, inwardly experienced expressiveness.

This elegiac music seems very well-suited to the dark sound of the viola. Kashkashian plays it simply and very expressively, without slides or sentimentality; glowing and shimmering, her tone is pure, warm, inflected. The program has great variety. Britten's mournful Lachrymae (Reflections on a Song of John Dowland) comes to an agitated climax and ends with an old chorale. Vaughan Williams's Romance is a peaceful pastoral; Carter's Elegy is somber, gentle, and hardly dissonant; Glasunov's Elegy is very romantic. Liszt's Romance is very rhetorical–half recitation, half lamentation–but ends serenely.

On their ECM New Series debut, the Boston-based Parker Quartet, hailed by the Washington Post for "exceptional virtuosity and imaginative interpretation," play music of Gyorgy Kurt g and are joined by violist Kim Kashkashian, one of the quartet's early mentors, to play Dvor k. In this powerful program of contrasts, Dvor k's outgoing String Quintet No. 3 is framed by two of Kurt g's concentrated, meticulously shaped works.

Conceived jointly by violinist Movses Pogossian and violist Kim Kashkashian on the occasion of Tigran Mansurian’s 80th birthday, the Con anima project brings together a dedicated cast of players to perform the Armenian composer’s chamber music. The emphasis is on newer pieces - only the Third String Quartet dates from the 20th century - but there is a timeless quality to Mansurian’s work, all of which resounds with the spirit of his homeland. “His works are full of signifiers that come from Armenian ornaments, paintings or stones, “ writes Elena Dubiunets in the CD notes. “His music itself feels as if it was carved out of stone.” Sonata da Chiesa is dedicated to the memory of priest-composer-folklorist Komitas, an enduring inspiration for Mansurian. Agnus Dei is influenced by Armenian sacred music, and Die Tänzerin is based upon an Armenian folk dance.

The trio on this dics is chamber music performance at its highest level of enjoyment. Listening to the CD, you get an impression of three great friends having a most delightful conversation, elegant and graceful. The recorded sound is first rate. You hear all the details of instruments being played and also the acoustic features of the room in which they performed.

This piece, a divertimento for string trio (violin, viola, and cello, was composed in 1788, the same year as the E-flat, G-minor, and Jupiter symphonies and the little C-major piano sonata, four of Mozart's best-known and greatest pieces. This divertimento is relatively little-known, yet it is the equal of those far-better-known pieces. Mozart was at the absolute height of his powers as a composer.