The young American violinist, Robert McDuffie has a bold, bright style. His partnership with the SCO and Swensen results in notably well-integrated performances. Instead of the ‘big orchestra’ sound we often hear in these concerto accompaniments, the Scottish players produce clear, transparent textures and perform with great finesse and commitment. This is equally so whether it’s the whole band passionately involved in a Bruch tutti (track 4, 5'39'') or small groups of wind players in dialogue with the soloist in the Mendelssohn finale. Even though this detailed characterization in the orchestra can lead to stylistic oddities, like the eighteenth-century-style phrasing on track 1 at 1'24'', the strong sense of orchestral involvement is a real plus. Its effect is heightened by a balance that places a less strong spotlight on the solo violin than usual, emphasizing a cool, slightly remote aspect to McDuffie’s playing. Mendelssohn’s second movement proceeds sweetly at a genuine Andante, but Vengerov, only marginally slower, adds much greater warmth of expression and a more intense sense of melodic line. Bruch’s more ripely romantic idiom does inspire a more passionate response, and McDuffie gives the famous Adagio an appealing, delicate feeling of nostalgia, especially during the drawn-out final bars. But even here, I suspect, many people would turn rather to Kyung-Wha Chung’s profoundly-felt warmth and tenderness. Similarly, in the Bruch finale, McDuffie doesn’t quite match Perlman’s wonderfully precise virtuosity.
Consistently accomplished playing, then, but just not matching the front runners in this much-recorded repertory. The scintillating Mendelssohn finale, with its wistful introduction, shows, however, what a lot McDuffie has to offer.'