Menuhin went on to re-record the Mendelssohn Concerto three more times in post-war years, but I don't think he ever quite recaptured the spirit and charm of this early version with his teacher and spiritual mentor George Enescu. In fact it would be hard to find any other performance which bettered this for ease of technique, tonal beauty and sheer style. The slow movement particularly, has a most touchingly innocent quality, and rapt concentration. Throughout the work Enescu seems totally at one with his young soloist, and directs the orchestra with great sensitivity. What a pity it is that Romania's greatest musician made so few recordings as a conductor (let alone as a violinist).
In the Dvorak there is more high-quality musicianship from soloist and conductor, and it is perhaps surprising that Menuhin did not return to this work in the recording studio ever again. Yet despite the warmth and affection of the first two movements, and a high-spirited finale, there are just occasional signs of pressure in the 20-year-old soloist's playing, and the feeling that perhaps he was not quite so much in sympathy with this work as in the Mendelssohn. But these are fleeting impressions in a generally excellent performance. Wieniawski's Legende makes a delightful makeweight for a highly desirable issue. Very good transfers.'