Ever since it was issued, just over ten years ago, the ealier Perlman record of these two concertos (also on HMV) with Previn and the LSO has been at the top of my list for this favourite coupling. I wish I could report that this new version, fine as the playing is, posses the same magic. In principle I can well understand why Perlman, who has radically altered his view of the opening of the Mendelssohn, wanted to record this work again. With Previn at a relatively relaxed speed it had a yearning melancholy, where this time with Haitink and the Concertgebouw Perlman takes a far stricter view, at once adopting a steady, fast tempo which both soloist and conductor plainly intend to maintain. It is all very clean, but lacks mystery, and the new digital recording brings out a touch of acidity in Perlman's tone, the effect of which is exaggerated when at the other end of the frequency range there is no compensation from the bass end, which is surprisingly light. Though DG when recording Perlman has sometimes been guilty of producing too fat a sound, this opposite view is more disappointing still.
As ever Perlman produces a ravishingly beautiful downward arpeggio into the second subject, the point at which he fully relaxes. As so often in the concert hall, after an opening which seems to have everyone on edge, the real performance, the full, warm communication, only begins with that more lyrical passage. Yet there and elsewhere I feel bound to say that in no movement of either concerto do I actually prefer the new reading. Where in the older recording, the joy of the music, a feeling spontaneity, had one both magnetized and consistently refreshed, the new readings for all their brilliance, ease and assurance rarely capture that freshness and originality. In principle the central Andante brings an admirable direct approach, but by comparison with the old reading Perlman's rubato sounds just a little tired, copied from himself rather than emerging afresh. In the finale Perlman as ever is the complete masteR, taking a fast exciting tempo, but never skating over anything.
In the Bruch the very opening is more distinctive in the new version, not so rich or full of gravitas but presented in a withdrawn, searching manner to contrast with the fierceness of the orchestral interjections. The first subject proper then enters, swaggering proudly. Yet the earlier version remains the richer and more romantic with extra tenderness in the slow movement and more joy in the finale. For a violinist of Perlman's supreme mastery it must grow irritating to be face with such rivalry from self. May I emphasize that if you can tame the sound and get a warmer result than I have on my machine, you will find these strong and purposeful readings. Even so in this coupling I would still prefer Anne-Sophie Mutter's DG record with Karajan, not quite so dazzling or immaculate but warmer and more naturally expressive.'