Stephen Wigler in Andante Magazine wrote about the duo :
Matching a virtuoso string player with a comparably gifted pianist, instead of the customary "accompanist," has obvious benefits. Nearly all the important violin-and-piano and cello-and-piano sonatas were written by composers who were brilliant pianists and who were likely to be at the keyboard themselves for the first performances. Beethoven and Rachmaninoff, who composed the opening and closing works on the program, certainly never intended themselves to be subservient to the cellists with whom they performed.
Virsaladze and Gutman, whose chamber music partnership extends back more than forty years to their days as students at the Moscow Conservatory, play almost as if they had been twinned in the womb. Their uncanny communication yields dividends in the Beethoven Sonatas. The cellist is frequently called upon to articulate passages in a manner more pianistic than celloistic; sometimes the pianist is expected to approximate the legato capabilities of the cello. Virsaladze's smooth, expressive touch and Gutman's warm, rounded tone combined for affecting realizations of the Sonata's many cantabile episodes. Memorable as these introspective moments were, however, the urgency and intensity of the music was never shortchanged. In high-speed, explosive passages — particularly in the codas of the first and third movements and in the latter's 16th-note runs — Gutman and Virsaladze achieved a remarkable degree of timbral unity.