Especially impressive is their absolute unanimity of approach: the sense they convey that they are not merely equal partners but equally important voices in Brahms's polyphonic textures. The breadth of their phrasing, the constant search for fluidity...is also very striking...Marwood and Madzar are so good I'm tempted to make them the new benchmark among contemporary recordings.

Distinct pianism and etched string attack may not be all that these sonatas require. Marwood doesn't often relax into the music...Nevertheless, the impassioned last sonata finds Marwood and Madzar in more relenting mood, willing to modify hitherto guarded responses to conventions of performance that Brahms took for granted.

this is duo playing of the highest order...[Marwood's] musicianship and panache will be familiar to many. We don't hear enough of Madzar in the UK: there are few to match him in terms of technique and interpretation, and he here proves a terrific chamber music partner.