The revival in the popularity of the violin concerto during the latter part of the eighteenth century is winningly celebrated in this delightful, superbly recorded programme. Myslivecek’s Fourth Concerto sets the tone with music of graceful charm, in which Wallfisch engagingly deploys her fluent virtuosity to reveal the music’s full expressive potential. With sensitive accompaniment from the Brandenburg Orchestra, she presents a satisfying feeling of orderly balance in the first movement, poignantly expresses the Larghetto’s affecting melodiousness with incisive phrasing, and negotiates the athletic leaps in the finale with compelling vitality. Wallfisch and the Brandenburg go on to give a truly enchanting account of Viotti’s A minor Violin Concerto (No. 22) that exploits the valuable insights offered by Ferdinand David’s performing edition of the piece. Here, listeners will find the shapely phrasing (enlivened by slides) in the first movement, and David’s richly embellished Adagio particularly alluring.
Although Schubert never wrote a violin concerto, he did leave some impressive concertante violin music that attests to his own early training on the instrument. Kremer’s polished account of the Rondo, D438 is excellent; however, Wallfisch here offers an alternative, whose panache and robust orchestral playing (strengthened by forte-piano continuo) has added bite. Finally, Spohr’s A minor Concerto (No. 8) introduces an intriguing theatrical element to the programme. Hoelscher and the Berlin Radio Symphony Orchestra give an atmospheric portrayal of this work’s dramatic character; but softer lighting enables Wallfisch and the Brandenburg still more vividly to evoke the music’s striking vocal character.'