Barber, S: Violin Concerto, Op. 14

“an outstanding release in every way” Edward Greenfield in Gramophone

“It's an inspired coupling, as well as a generous one, to have these three high-romantic concertos together. James Ehnes gives superb performances, bringing out their full emotional thrust without vulgarity or exaggeration. His playing has always been impressive on disc, but here he excels himself in expressive range as well as tonal beauty, with expressive rubato perfectly controlled.
The concertos date from the late 1930s and '40s, and though at the time their romanticism might have seemed outdated, the strength and memorability of the musical ideas in each amply justifies the composers' stance. In the Barber, Ehnes more than usually brings out the contrast between the first movement – improbably marked Allegro when the impression is of a slowish piece – and the Andante slow movement, strengthening the work's impact. The Korngold, drawing its striking main themes from some of the composer's film scores, is just as richly lyrical, prompting from Ehnes some ecstatic playing of the many stratospheric melodies above the stave, using a wide dynamic range with wonderfully delicate half-tones.
The Walton is just as memorable, for unlike most latter-day interpreters Ehnes has taken note of the example of the work's commissioner and dedicatee, Jascha Heifetz. Where the work is generally spread to well over half an hour, Ehnes takes exactly 30 minutes and the result is all the stronger. This is one of Walton's most richly inspired works, and Ehnes brings that out strongly, helped by the powerful playing of the Vancouver orchestra under Bramwell Tovey.
Textures are not always as transparent as they might be but the power of the orchestral playing in all three works adds greatly to the impact of the performances. An outstanding disc in every way.” Gramophone Classical Music Guide, 2010

“Ehnes proves an ardent and committed advocate, mirrored by Bramwell Tovey's glowing partnership, particularly in the lyrical, beautiful slow movement, which has exquisite delicacy of feeling. It is an inspiring coupling, as well as a generous one...Ehnes gives superb performances of all three, bringing out their emotional thrust without vulgarity or exaggeration. An altogether indispensable CD.” Penguin Guide, 2011 edition

“This performance of the Barber, warm and rich with the sound close and immediate, brings out the work's bolder side, allowing moments that aren't too distant from the world of Hollywood music (no disparagement there) and aptly the Korngold emerges as a central work in that genre. There have been subtler readings of Barber's lovely concerto, with the soloist not always helped by the close balance, but it's good to have a sharp distinction drawn between the purposeful lyricism of the first movement, marked Allegro, and the tender lyricism of the heavenly Andante. In the finale Shaham brings out the fun behind the movement's manic energy, with Previn pointing the Waltonian wit.
In the Korngold, Gil Shaham may not have quite the flair and panache of the dedicatee, Jascha Heifetz, in his incomparable reading (reviewed under Korngold), but he's warm and committed. What emerges again and again is how electric the playing of the LSO is under Previn, rich and full as well as committed. The recording helps, clear and immediate.
The suite from Korngold's incidental music to Much ado about nothing, dating from his early precocious period in Vienna, provides a delightful and apt filler, with Previn, as pianist, just as understanding and imaginative an accompanist, and Shaham yearningly warm without sentimentality, clean and precise in attack.” Gramophone Classical Music Guide, 2010

“This is a performance with a genuine heart, superbly played, with a marked care for detail, instrumental colour and melodic inflection, and with a deeply communicative warmth and affection.” The Telegraph

“James Buswell is a refined, sensitive soloist in the Concerto, warm without being soupy” Penguin Guide, 2011 edition