"Kobayashi and Gray slid confidently into each of the road’s three moods: the biting, bluegrassy opening with relentless rhythm, the calm inner movement (Kobayashi’s full tone almost viola-like) and the moto perpetuo spiccato third movement, which was driven and tight.

Darius Milhaud’s “Suite” made an introspective bid for San Francisco.....and here Kobayashi struck some lyrical conversation, ringing sounds in the “Vif” and passionate intensity in the finale, with precise piano support.

But it was Bela Bartok’s “Contrasts” that was the centerpiece. ..........Kobayashi and Gray launched into frenzied rhythms and deathlike calm with equal intensity, and the piece remained gripping til the end."