These Vox staples were recorded almost forty years ago. Aaron 
                  Rosand made most of his internationally admired discs outside 
                  his native America, often - as here - with orchestras characterised 
                  as second tier. Nevertheless second tier or not, robust support 
                  was guaranteed and the market was enriched by affordable examples 
                  of both his art and some worthwhile concerto performances. 
                    
                  Foremost amongst them here is the Arensky, a work that has never 
                  generated as much enthusiasm as the similarly small-sized Glazunov 
                  Concerto. True, it lacks the memorable ideas of Glazunov’s 
                  work, which was composed over a decade later, but it does possess 
                  charm of its own. And when a player of romantic intensity such 
                  as Rosand is involved, succulent finger position changes and 
                  tonal warmth are givens, so too the triumphant negotiation of 
                  the tricky running passagework, and elegance in the slow movement. 
                  Charm, style, lyrical warmth, stylistic appreciation: all these 
                  qualities are to be heard in this performance, dutifully accompanied, 
                  with Louis de Fromet ensuring that things never get slack rhythmically. 
                  
                    
                  The couplings are apt. In the Tchaikovsky (especially apt) some 
                  of the connective phrasing in the first movement is unusual 
                  and intriguing, and has clearly been carefully thought through. 
                  The approach is not hyper-virtuosic and avoids beefy, muscular 
                  tone. The slow movement is deftly sensitive and lyric with fresh 
                  playing. The finale though has one or two rather energetic folkloric 
                  fillips, which sound less and less convincing on repeated listening, 
                  and sometimes the rhythm is too diffuse. The brass is backwardly 
                  placed and thus excitement is somewhat reined in. 
                    
                  Mendelssohn’s Concerto responds very well to Rosand’s 
                  essentially sweet-toned approach. But there is urgency as well 
                  as lyricism, and some well-conveyed diminuendos in the finale. 
                  The orchestral winds come through well. 
                    
                  It’s, above all, as a tribute both to Rosand and to the 
                  indestructible Vox that this disc should be welcomed. 
                    
                  Jonathan Woolf 
                see also review by Rob 
                  Barnett
                Masterwork Index: Tchaikovsky 
                  concerto ~~ Mendelssohn 
                  concerto
                
                
                   
                    | 
                       Support 
                        us financially by purchasing this disc from: 
                     | 
                  
                   
                    | 
                      
                     | 
                    
                      
                     | 
                  
                   
                    | 
                      
                     | 
                    
                      
                     | 
                  
                   
                    | 
                      
                     |