Yuri Kalnits gives us a committed, dynamic and wonderfully expressive performance on violin throughout. Michael Csanyi-Wills compliments Kalnits nicely on piano, making a poetic twosome that I suspect the composer would be very happy about.
The opening Sonata No. 3 (1947) has marvelous depth, bitter-sweet, tart modern presence and a glorious sense of opening onto our musical perceptions. There is endless melodic-harmonic movement that Weinberg has in common with Prokofiev and Shostakovich, and yet by this point (1947) he has his own way of unfolding it all.
The Sonata No. 3 for Violin Solo (1979) has dramatic torque and a finely exploratory resonance that gives us a leaner, more abstract projecting than the earlier work perhaps. It is fascinating and deep in its wholeness and Kalnits defines and realizes it with a grand flourish one appreciates.
The program is topped off with the rather late (1982) Sonata No. 6 for Violin and Piano, which brings an expanded sense of space and time, a kind of meditative side more apparent and striking in how it all lays out.
After listening a good bit I must say that this volume in my view gives us some further aspects of Weinberg that help round out a portrait of him in chamber music form.
If you do a "Weinberg" search on the left-hand corner of this page you can find other related reviews I've done here. The Volume Three of the sonatas after living with for a week or so seems to me well worth your efforts to hear--for it gives us some gems of the later period and the performances are world-class. Very recommended.