Despite the old saying that comparisons are odious, I feel this new release on URLICHT takes 'pride of place' in the pantheon of my own preferred interpretations [of Brahms Op. 40), and will become the sine qua non, "go to" recording of this and future generations who love this unusual, but entirely felicitous mix of violin, horn and piano. From Elmira Darvarova's initial voluptuous, breath-taking portamento - luxuriant and perfectly poised - I was hooked, and remained an engaged captive until I burst out laughing for joy at the end of the 4th movement's exuberant finale. … [Hornist] Philip Myers has, simply put, "got it all." A Caruso of the Horn with a burnished tone, and the creative imagination and technical fluency (though, magician that he is, one is never even aware of technique per se) to put it to the most agile and mellifluous use. I conjecture that this is the first recording using a triple horn … Bryan Wagorn is a pianist after my own heart and training as a collaborative musician. He sustains a remarkable rhythmic integrity at the piano like a gifted string or wind player, and "makes tone" from the hammers and strings. … Bookended by Brahms, comes the real revelation, (perhaps innovation is a better word) of this CD, the Sonata in b minor for violin and piano by Amanda Maier. … This is gorgeous music, elegantly, eloquently, and passionately delivered. … The d minor Sonata for violin and piano of Brahms is a more familiar 'Meisterwerk', in this triptych of masterpieces. So many moods expressed in one work. Urgency, for sure; calm assurance; whimsy and playfulness, all realized with panache by this inspired team. This kind of music making is reminiscent of those glorious recordings of Kreisler and Rachmaninoff. The piano playing so wondrously seamless and anti-percussive; the violin playing incisive but never forced. But this is not a mere palimpsest of past performances. This is NOW, red blooded, full throated and invigorating. Bernstein wrote a book called The Joy of Music. This CD is all about Joy - the discovery of joy in the uncovered lost masterpiece, the joy of the repertory staple redeployed, and most importantly the joy of collaboration between esteemed artist colleagues at the top of their form. The tale of the relationship of performer/creator, and the reasoned and ingenious linking of these three works is beautifully detailed by Elmira Darvarova in her eloquent liner notes. The recorded sound, too, is exemplary - one of the pillars of joy ... the pure sound of it. For which, congratulations, to John C. Baker and his team of tonmeisters.