Hugh Bean studied with Albert Sammons, so it's not surprising that his realization of the Elgar Concerto is so nobly attuned to the idiom. Though not as assertive or perhaps ideally assured a soloist as one would always wish, his contribution possesses an intuitive poetry and quiet dignity that count for a very great deal. Groves and the RLPO lend thoroughly attentive, well-groomed support, and the 1972 EMI recording is really very fine indeed, with a most musically judged solo balance—too backward for some tastes, I wouldn't be surprised, though to my ears it suits the performance's reticent nature perfectly. The disc opens with Bean's similarly understanding account of the Violin Sonata, with David Parkhouse a most sympathetic partner, this, too, sounds extremely well for its vintage (1971).
For those with limited budgets, this is definitely an attractive prospect, though I'm bound to say that for a pound or so less you can invest in Dong-Suk Kang's rather more commanding, utterly idiomatic Naxos account of the main work—an astonishing bargain by any standards and, for me, the jewel in that company's catalogue to date.'