The Classical Catalogue is particularly rich in fine recordings of the Mendelssohn E minor Violin Concerto (one thinks of Kyung-Wha Chung, Anne-Sophie Mutter and Cho-Liang Lin, to name but three). But Viktoria Mullova's account is second to none, and she is splendidly accompanied by Marriner and his ASMF. The performance has great warmth and freshness. That moment on which so much depends, the preparation for the arrival of the first movement's second subject, does not disappoint. Indeed the lovely melody arrives with the utmost naturalness—Marriner at his most spontaneously subtle—and at the beginning of the falling solo arpeggio Mullova's momentary tenuto (2'53'') is ravishing. She phrases the slow movement most beautifully, too, and Marriner ensures that it does not languish, moving on the middle section persuasively. The finale dances and effervesces gleefully.
The recording is one of Philips's very best, which means the balance is natural; the solo timbre does not betray an excessively close microphone, yet is consistently full and beautiful, without in any way lacking presence. The orchestra has bloom as well as weight, and all necessary brilliance.
So what about the coupling? Well it's far from being a masterpiece, but remains an astonishingly mature and well crafted piece for a 13-year-old composer. The first two movements are agreeable when played with such warmth and finesse, but only the finale has dancing ideas which sparkle in the memory.'