'Tabea Zimmermann and Hartmut Holl adopt a chillingly literal approach in the Sonata, and the final impression of dematerialized nihilism is enduring. Zimmermann and Holl give convincing, and often deeply moving accounts of these significant modern additions to the viola repertory. Their playing excels, both in terms of its technical mastery and for its insights into certain aspects of human limitation and finality'. (Michael Jameson, Gramophone, 3/1992).
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