That we at last have a fully satisfactory modern version of Delius's Violin concerto is obviously the main news here, but the first recordings of his Suite for violin and orchestra and of the orchestral form of his Legende are also of great interest. The Suite mostly dates from 1888, and, though it seems to have had a private read-through under Beecham in 1907, effectively its first hearing was in a 1984 broadcast by the above soloist and conductor with the BBC Scottish Symphony Orchestra, Holmes soon following this up with a London concert performance with the Young Musicians' Symphony Orchestra under James Blair. The four movements are interesting in the same way as is the Florida suite, and show a young composer finding his way. Wise with our knowledge of Delius's later music, we detect fleeting hints of later works, specifically of the Cello Concerto, Mass of Life, and of the Violin Concerto itself. The Legende is later, the manuscripts full score being dated 1895, though its origins, at least in the violin and piano form, may be earlier, possibly 1892. It has a stronger and more consistent character than the Suite, although both works receive beautiful, wholly sympathetic performances.
Despite the soloist's opening mildly rhetorical gesture, an almost dreamlike atmosphere is established immediately by this interpretation of the Concerto and is maintained to the end. Both Holmes and Handley have an acute awareness of this score's lyrical ebb and flow, and the violinist produces a most beautiful tone throughout, as do all members of the RPO. The solo line is sufficiently prominent whilst being fully integrated with the rich orchestral fabric. Essentially the note is one of intimacy, although the orchestra has some powerful outbursts, notably just before the 6/8 scherzo-like passage.
The apparently perfect comprehension of the composer's thought which reigns here throws into relief the weakest aspect of the HMV alternative. Despite fine work by Meredith Davies, eloquent playing from Paul Tortelier in the Double Concerto which is the coupling, and by the RPO again, the HMV soloist (Sir Yehudi Menuhin) often seems disconnected from events, sometimes appearing not to sense their direction at all. Certainly that earlier recording is effaced by the new one a surpassingly lovely perfomrnace that can be played over and over; and a worthy memorial to the late Ralph Holmes.'