Brahms's elusive pronouncements about tempo variation have encouraged her into a good deal of rhythmic elasticity, sounding mostly idiomatic and spontaneous but just occasoinally forced and artificial. John Lenehan matches Johnson's rhythmic inflections, but doesn't always succeed in finding sonorities and phrasing on a par with her inward quiet playing

John Lenehan [is] as much a master of magisterial might as he is of exquisite delicacy. Johnson's tonal range encompasses similar mutations of dynamic colour too...Their grip on rhythm and pulse is unequivocal, artistic rapport extraordinarily close. Clearly evident in Nimbus's just balance and sound is also a joint artistic integrity that doesn't waver even when encompassing the ambitions of a 15-year-old Mendelssohn.

no one is likely to be disappointed by any of the ingredients - music, performances, audio quality - of this new release...There’s natural and instinctive responsiveness to each other. This offers, for example, a controlled yet farm-fresh account of the Brahms Sonatas, magisterially articulated and elegantly paced.

I have heard more fiery accounts of the F minor sonata’s first movement, but none that bring out so well its profound sadness. The 15-year-old Mendelssohn’s E flat sonata is a delightful discovery: any danger of excessive blandness is banished by Johnson’s beautiful phrasing and rich colours, and by Lenehan’s powerful playing.