Unless I was a specialist in viola recordings or a money-no-object collector I think I would hesitate before paying full price for a disc like this with more than 30 minutes of spare capacity on it, especially as neither work represents its composer at his very finest. What about one of the other Hindemith concertante works for a coupling, or the Walton Concerto, which I heard Tabea Zimmermann play marvellously in London's Royal Festival Hall last October? None of these is exactly over-represented in the current catalogue.
Having said that, the performances are extremely authoritative. The Bartok is sensitive and energetic in all the right places, the Hindemith splendidly springy and square-jawed. Zimmermann may not have the outsize personality of a Bashmet, but she is a superbly accomplished musician and I cannot imagine anyone being disappointed with her playing. Orchestral support is solidly effective, recording quality slightly veiled. If these pieces represent a gap in your collection which you urgently want to fill, there is really no need for hesitation.'