…it’s a well-written work in four movements with memorable melodies, solid structure, and superb writing for strings…

To read the complete review, please visit American Record Guide online.

[see reviews by Christopher Fifield – Recording of the Month: ‘quite the finest performance I have ever heard [of the concerto], including Kreisler’s famous 1925 recording’ – and Simon Thompson – ‘This disc is a great Bruch package, combining the most familiar with something new.’]

There’s very little to add to these enthusiastic reviews, except to endorse them wholeheartedly, as I see that other reviewers also have, and to report that the 24-bit download sounds excellent.

Most collectors will already possess a recording of Bruch’s First Violin Concerto so for many the items of interest here will be the Quintet and the Romance. The Quintet, first of all, is a work of 1918, written towards the end of the Great War and of the composer’s life; it’s a real gem. Its deceptively gentle opening lulls the listener into a false sense of ease before plunging headlong into a full-on passage of Sturm und Drang. The rest of the movement contains a mix of beauty and stress but it shows that the composer had complete mastery of the Quintet form for this, his only excursion into the genre. The extra viola makes all the difference, adding a rich mellowness to the middle of the sound and creating something for the listener to bask in. In contrast to the opening movement, there is an underlying warmth and good humour to the Scherzo which is merry while remaining understated. The slow movement is gorgeously rich, thanks to the prominent role given to the middle strings. It’s an unapologetically lush four minutes and its brevity makes it feel like a beautifully transient moment, snatched before it disappears. The finale is then more restrained than one might expect, almost like an energised Minuet. For most of the movement it retains its elegance and mask of formality before breaking into a hell-for-leather coda, but not before a central section that reminds us of earlier stresses. This is a work well worth exploring, and the performance given here is superb. Gluzman has assembled a cast of players with whom he clearly has a close working relationship and it shows. There is a sense of collective joy in the music-making that works wonderfully. There’s that palpable feeling of introducing a new musical discovery into the world. For this, if nothing more, the disc deserves to do well.

The Romance is another delight. Originally scored for a solo viola with orchestra Gluzman arranges it for violin after the composer’s own version for violin and piano. As its title suggests, it is wonderfully luscious with a main theme to wallow in and sumptuous orchestration to boot. It feels much more like Massenet’s Méditation than Beethoven’s Violin Romances and it oozes Romantic decadence from every pore. A guilty pleasure!

As for the concerto itself, Gluzman and Litton provide a performance which, to my ears, can stand comparison with any of recent years. The first movement contains playing of proper vigour, making the music sound energetic and exciting. For once this—almost—prevents it from being a “mere” prelude to the slow movement which here unfolds in one endless, breathless line of legato beauty. The finale then bustles with energy without feeling rushed. Gluzman’s unashamedly Romantic playing makes this a version to cherish, and BIS’s recorded sound is first rate, close and immediate without losing its bloom. This disc is a great Bruch package, combining the most familiar with something new.