Emmanuelle Bertrand is a cellist of gentle eloquence with a wonderfully lyrical voice. Brahms’ two great cello sonatas go well with this softer approach, especially when the pianist—here, the excellent Pascal Amoyel—is clearly of the same mind. The cello sonatas, written two decades apart, make an obvious pairing and both musicians respond nicely to their different demands. No. 1 alternates delicacy and unfettered songfulness, while No. 2 is the work of a master craftsman and musical poet. Between them, the song transcriptions are gorgeous—the rich, burnished sound of the cello perfectly replacing the voice. The Hungarian Dances, too, have plenty of fire and spirit.