I think we can safely assume that Korngold’s Sinfonietta has finally made its mark – it is clearly a hit with conductors as this issue now brings the number of available recordings to no less than four. Still, who can blame anyone for wanting to record such a glowingly rapturous work as this?
I have to say the combination of Andrew Litton and the Dallas Symphony Orchestra was an enticing choice of performers for this work, but my immediate thought was that they would have to be exceptionally persuasive if they were to fight off Matthias Bamert and the BBC Philharmonic on Chandos, currently my primary recommendation for the Sinfonietta. Litton clearly has strong and well-defined feelings for this work and this is most evident, I feel, in the finale, where his bold and radiant reading can be counted among the most impressive on disc. The Scherzo, too, is delivered with fire and gusto, though admittedly the gorgeous trio subject has less warmth and passion than Bamert. Where I part company with Litton is with his interpretation of the first movement which I find too leisurely (overall he is almost one-and-a-half minutes longer than Bamert here), and his use of rubato is also a little excessive at times (I cite the passage 2'10'' to 2'30'' to make my point) which greatly hinders the flow and drive of this movement. A pity, as otherwise this is a strong and interesting reading.
The Violin Concerto receives an exceptionally warm and dedicated performance from Ulrike-Anima Mathe. The first movement is given a considerably more introverted and searching reading than any other on disc as well as being considerably slower than Heifetz’s classic 1953 recording (9'43'' as opposed to Heifetz’s 7'47''). Some listeners will find it too indulgent perhaps, but I was quite captivated by the breadth and intensity of it. I have not heard quite such a tender and lovingly played account of the beautiful slow movement either, and this, coupled with a suave and spirited account of the finale, leaves me wanting to hear more from this talented and thought-provoking violinist. Heifetz is essential listening, but Mathe, together with Gil Shaham’s recent recording on DG, is also well worth considering. The recorded sound is warm and atmospheric.'