Does Leland Chen's new account of the Elgar hold its own against the formidable line-up of rival versions listed above? Not quite, I fear. On this evidence, Chen is perhaps a somewhat less commanding and articulate exponent than one would wish. Whereas, for instance, Kyoko Takezawa brings a refreshing gusto and effortless technical brilliance to both outer movements, Chen's passagework tends to a certain literalness, lacking the necessary caprice and flair. Nor is Chen's somewhat wiry tone-quality of the most ingratiating and his response generally is neither as deeply felt or as imaginative as that of so many distinguished protagonists of this glorious concerto on record.
The Arnhem Philharmonic play decently enough, yet Menuhin (surprisingly, in view of his treasurable personal links with this of all pieces) often fights shy of Elgar's specific expressive intentions. That tremendous orchestral tutti in the first movement's development section, for example, with its markings of con passione, maestoso and strepitoso, passes by in disappointingly uneventful fashion, and his direction overall doesn't evince the iron grip and sheer authority of a Boult or Handley. Here the slow movement is too slackly held together for my tastes, whilst the finale stubbornly refuses to take flight. The performance of the indestructible Bruch concerto is more successful (and Roberto Benzi's big-hearted, alert accompaniment in this item gives pleasure throughout) but hardly distinctive enough to warrant a firm recommendation ahead of what is a veritable phalanx of classic interpretations.
The recorded sound is pleasingly natural, but, in a ferociously competitive field, this new Upbeat Classics coupling just doesn't cut a sufficiently dashing impression.'