Without a break, the foreboding opening chords of Sergei Prokofiev’s Violin Sonata in F minor emerged from the berceuse. Prokofiev's second of two sonatas for the violin, the work is an exciting and sinister piece, depicting the anguish and despondency often associated with World War II.

Salerno-Sonnenberg, a virtuosic and forceful player, ripped through Prokofiev’s complicated passages with exquisite technique and flair, but her overall sound lacked depth at times. A pristine collaborative pianist, McDermott gave a fierce performance of the equally challenging piano part. As a duo, Salerno-Sonnenberg and McDermott are well-matched, both in musical intensity and technical ability.

After intermission, the Parker Quartet joined the duo for Ernest Chausson’s Concerto for Violin, Piano, and String Quartet. Chausson's neo-Romanticism was greatly influenced by the likes of Franck and Wagner, and his concerto is a scenic piece, full of rich chords and lush melodies that express a wide range of emotions.

Here, Salerno-Sonnenberg was full of life and McDermott maintained an astonishing level of energy throughout the demanding work. The quartet members were a beautiful addition to the duo—their dense sound amazingly unified, like one big, luscious sound, rather than four individual voices—making for a strong performance.