Maxim Vengerov is back, much to the relief of those who have wondered how a few vaguely-reported-on injuries could have sidelined such a celebrity for the better part of a decade. There was much beautiful playing on offer Monday in the Maison symphonique, where the 37-year-old Russian violinist performed with Montreal pianist Patrice Laré (a fellow former student at the Moscow Conservatory) under the auspices of the Montreal Chamber Music Society. Is he back at full strength? Vengerov seemed determined to assert that he was, by starting with Bach’s solo Partita No. 2. The playing was steady, noble and sonorous. There were a few smudges and overslurred bars: minor matters, a fan will say, but not the sort of thing you hear from anA-lister in his prime. Vengerov launched into the famous concluding Chaconne without a pause. The object being to suppress applause after the Gigue? Perhaps. But surely a monument of Western civilization deserves a breath break. Again, the even tone and austere style were impressive, but an overabundance of legato left me wondering whether the piece had been explored in its entire panorama. Handel’s Sonata Op. 1 No. 4 came next. This was melodious, personal and relaxed. Why should this playing, exquisitely ornamented and sustained with light, selective vibrato, be considered “romantic” while a scratchy outing on a replica instrument is hailed as “baroque.” Laré played a Steinway, of course, but with discretion and taste. Brahms was the subject after intermission, starting with the vigorous Sonatensatz. The highlights of the Sonata Op. 108 were the deeply felt Adagio and the following third movement, a model of shadowy sophistication. In the outer movements, I was troubled by Vengerov’s tendency to rush phrases, a handy, but ephemeral, means of achieving a feeling of agitation. Laré voiced the second theme of the finale warmly. Brahms’s Hungarian Dance No. 1 followed as an encore. Vengerov’s tone was light and Laré’s accompaniment was imperfect. Both players were in grand form for that classic heart-throbber, Massenet’s Méditation. The non-subscription crowd of more than 1,800 ran the gamut from just-folks to the rich and powerful. Vengerov is back, and so is the celebrity recital.