A very grand performance of the Elgar, full of swaggering confidence and interpretative panache. Initially, one fears that Midori’s supreme virtuosity might lend a surface gloss to proceedings, yet how exquisitely she pares down her tone for the mysterious secondary idea, and how refreshing it is to hear this opening Allegro surge along with such purposeful vigour. Moreover, Midori and McDonald bring plenty of mercurial fantasy to those fantastical outer portions of the ensuing “Romance”, while the gifted Japanese-born violinist reserves her most full-throated tone for the glorious central melody (eased into quite beautifully here). The finale, too, is strongly characterized, the music’s hard-won defiance and poignant nostalgia most intelligently brought out. Those who crave a less ‘masterful’ manner in this piece can safely turn to either the expert Nash Ensemble-pairing of Marcia Crayford and Ian Brown or the gently perceptive Bean-Parkhouse account. But try to hear this newcomer too: no Elgarian could fail to derive pleasure from this partnership’s effortless technical security and notable artistry.
As for the Franck, well I find it all very imposing, if just a touch wanting in spontaneity and improvisatory flair. The music-making has now acquired an ever so slight self-conscious mastery (the mood seems marginally more ‘uptight’ than in the Elgar). By contrast, Kyung-Wha Chung and Radu Lupu are altogether more self-effacing, Kaja Danczowska and Krystian Zimerman more lyrically rapt. Truth to tell, it’s the inspirational latter pairing who thrill to the marrow time and again with the ecstatic fervour of their response: DG’s Polish duo really do make you fall in love with this music all over again, whereas the new performance remains comparatively joyless, one to admire rather than cherish, formidably accomplished though it may be. The Maltings sound is bold and true.'