“Mr. Sauer’s pianism was the anchor in both works. In the ‘Archduke,’ it was truly central: the supple dynamic shadings that Mr. Sauer applied consistently set the tone for his collaborators … there was a warmth and vitality in Mr. Sauer’s keyboard textures that went beyond what was happening in the string lines, and that sometimes created the illusion that the music was being composed on the spot … . The Cello Sonata, for which Mr. Sauer was joined by Colin Carr, was more democratic. As fine as Mr. Sauer’s playing was here—and there were some remarkably crystalline textures in the closing allegro vivace—it never fully stole the attention from Mr. Carr’s magnificently deep, rich tone. Still, this was a collaboration, not a duel, and when they were at their best, probably in the Scherzo, Mr. Carr and Mr. Sauer made the music sing with an almost Schubertian lilt while preserving its purely Beethovenian muscularity.”