Prokofiev's two violin concertos (1917, 1935) manage to be both modern and tuneful, the sharpest writing coming in the devilish Scherzo of the first concerto. The darkest work on this set is the first of the two sonatas for violin and piano (1938-46), where some of the sonorities are utterly extraordinary; the second (1944), arranged from the Flute Sonata, is altogether more lyrical in vein. James Ehnes and his various partners (including Amy Schwartz Moretti in the 1932 sonata for two violins) give the impression of wanting the music to speak for itself without any imposed personal overlay.

And Ehnes certainly has the musical savoir faire and virtuosity to make the approach work. url.ie/f1f2