The meaty piano parts in the Rachmaninov and Borodin benefit hugely from [Sudbin's] near-orchestral range and depth, and his sculptor's sense of form and phrase. Not that he outshines cellist Alexander Chaushian, who displays a deeply instinctive connection with this repertoire...This is a near-ideal performance of Rachmaninov's magnificent work that stands alongside those by the greatest.

Chausian and Sudbin provide a majestic overview of chamber-style sensitivity. Every phrase is beautifully sculpted, Sudbin subtly tames Rachmaninov's swirling solo line, and Chaushian plays with a bewitching restraint and technical clarity that works wonders, especially in the rarely-heard Borodin Sonata.

Chaushian and Sudbin shows that it is actually possible to deliver Rachmaninov's Sonata full-throatedly without making it sound like a piano concerto with cello accompaniment. And they demonstrate equally that Shostakovich's Sonata does not need hysterical exaggeration of its subtexts in order to be richly communicative.

There is no lack of personality and temperament, and the bigness of [Chaushian's] sound contributes to the music's symphonic aspirations...no one plays these sonatas quite like Russian performers do. Chaushian is no exception, bringing interpretative insight and native soulfulness into play with his technical mastery...His basic sound is appealingly buzzy - that is to say, human.

The rarity here is Borodin’s Cello Sonata, an early work of charm and vigour, reconstructed in the 20th century and calling for just the sort of adept, imaginative handling it gets here...The playing is of a supreme order and profoundly expressive.