These glorious concertos have been less well served on record than they deserve, so these two performances fill an important gap, even if they fall short of the ideal. First time round I thought they conveyed less sense of intoxication and tenderness than some earlier rivals, notably the pioneering 78rpm version of No. 1 by Uminska (Parlophone R20563/5, 12/48) and on LP by Oistrakh (Artia mono ALP156, 11/60—nla), and Szeryng in No. 2 on Philips (6500 421, 7/73—nla). however, collectors should not look a gift-horse in the mouth, for these are still accomplished and dedicated accounts that convey a very great deal of the atmosphere of this extraordinary music. Its sound-world is completely distinctive. There is an exotic Amazon-like luxuriance, a sense of ecstasy and longing, a heightened awareness of colour and glowing, almost luminous textures, as if one is perceiving the world in a dreamlike state which, while it lasts, seems far more vivid than the real thing.
The First Concerto comes from 1917 and is arguably Szymanowski's masterpiece: its extraordinary refinement and melancholic intensity linger in the memory. The closing bars are among the most poignant—even fragrant music—written in the present century. The Second was his last work, and occupied him during the years 1932-3 when he was sinking into ill-health and penury. The solo part owes much to his friend, Pawel Kochanski who gave the first performances of both concertos and who actually composed their cadenzas. (Prokofiev also consulted Kochanski in the preparation of his First Concerto, also from 1917.)
Both concertos are in one long continuous movement, rhapsodic in feeling with the violin soaring ecstatically above the stave. The recordings would gain from a less contrived balanced but they are still very good, and if the performances offer more sensuousness than spirituality they are sufficiently impressive to deserve recommendation, particularly at this price. EMI deserve thanks for filling the gap but I would like to hear Accardo, Amoyal or Cho-Liang Lin in these haunting and deeply original concertos.'