This is a most beautiful record. The two sonatas form an admirable coupling: associated by nationality of composer and century of composition, but sufficiently differentiated in style to form a genuine contrast. Walton is perfectly capable of sounding like Elgar (without trying especially hard!) for two or three bars; but does not do so here, even to the extent of two or three notes. Elgar, more reserved than in earlier days, yet still has the concert style in mind, with many passages sounding not unlike a concerto in piano rehearsal; Walton seldom (I could not truthfully say 'never') does this, but writing more reasonable equality of opportunity. Both composer are old-fashioned enough to be afraid of quietly beautiful sounds to contrast with the more aggresive ones; Walton's first movement most certainly offers exactly this.
All these contrasts are very effectively presented by McAslan and Blakely. Playing into each other's hands throughout, they identify fully with both composers. The music flows entirely naturally: everywhere in the Elgar, everywhere the composer allows in the Walton. If this sounds like a reservation, it is certainly not one so far as the performers are concerned; only so far as Walton is concerned, for here I must own up to some disability to see his second movement (the variations) either as exceptionally well put together or as a wholly successful finale. It may be that Walton himself had the same doubts: certainly there were originally second thoughts about the Sonata as a whole, involving the detachment of the Scherzo (it became one of the Two Pieces for violin and piano elsewhere recorded).
The quality of the new recording is as good as that of the performances; considered in isolation unqualified recommendation is called for. But readers with coupling difficulties may like a note about available alternatives.
The Kennedy/Pettinger performance (Chandos) of the Elgar Sonata is also a superlative one, just very slightly less well recorded than the new one; but the Sonata's backing, an assemblage of Elgar's minor pieces (some very minor!) for violin and piano will not be to all tastes. The Davis/Whalley performance of the Walton on Cameo Classics is not shown quite at its best by the metallic quality of recording offered the string sound, as reproduced on my own machine no less than on that of MH when it was originally released. But the coupling may be of interest: it is the Two Pieces (including the one related to the Sonata, as I have indicated earlier); the Ravel Piece en forme d'habanera; and another major work which might suit very well, the Debussy Sonata.'