Cho-Liang Lin's performances were highly praised when they were first issued, and rightly so. They make a superb mid-price coupling for these two concertos, and in my view go straight to the top of the overall list, which is a long and distinguished one. There are many moments of enchantment in the Mendelssohn—the lead-in to the second subject is utterly magical, and the solo-playing in the Andante is very beautiful in its flowing romanticism. The preparation for the finale, like an ongoing narrative, is wonderfully persuasive and the allegro sparkles like quicksilver; the bravura and lightness of Lin's articulation is breathtaking, yet never ostentatious. With him the music comes first, there is no sense of virtuosity for its own sake. The Bruch Concerto is hardly less compelling, and the hushed intensity of the slow movement holds the listener spellbound in its tender delicacy, with the joyous finale capping the performance satisfyingly. Lin is lucky with his conductors for both Tilson Thomas and Slatkin match his sensibility with an excellent orchestral backcloth, and there is some lovely wind playing. The digital recording is vivid, but does not lack atmosphere. The two bonuses are done with much flair (particularly the Sarasate Introduction et Tarantelle), but are not important enough to influence overall choice.
Salvatore Accardo's account of the Mendelssohn Concerto is also very attractive for its simplicity, with sweetness of tone and a refined romantic feeling permeating the performance. He is particularly well accompanied by Dutoit and this is also a very satisfying reading. Unfortunately, in the Bruch Concerto he is more forwardly balanced and his timbre catches the microphone and becomes edgy under pressure. This is a distinct drawback, particularly in the slow movement, which is played with considerable intensity.
Miklos Szenthelyi is also very forwardly balanced, but although the close microphones give the solo violin great presence, the orchestra remains well in the picture and the upper strings are brilliant to match the immediacy of the solo image, with an element of rawness on the timbre of both. But this is easily smoothed with the controls and Szenthelyi's tone is satisfyingly full, and his performance has great lyrical ardour. Sandor's accompaniment in the outer movements is straightforwardly attentive rather than especially imaginative, but in the lovely Adagio, which Szenthelyi plays with passionate feeling, he matches the soloist's tender response to the closing section. With the finale not raced, but still lively and full of eagerness, this performance carries the listener with it to the end. The Mendelssohn Concerto involves a less assertive soloist and the balance, too, is much more natural and recessed: it suits the gentler lyric inspiration of this work very well. Emmy Verhey is an excellent soloist, displaying warmth and a fine sense of line for the cantilenta of the Andante, which she plays simply but eloquently. Her second subject in the first movement is gently honeyed, without being over-sweet and her account of the finale has both lightness and sparkle. She is well accompanied too. Arpad Joo matches his soloist fluently, and their partnership is very pleasing in its unostentatious musicality. This LaserLight disc is very good value in the bargain basement, although Lin's CBS coupling is well worth its extra cost.'