Saint-Saëns: Violin Concerto No. 3 in B minor, Op. 61

“Right from the opening appassionato phrase on the G string, Jean-Jacques Kantorow goes for broke… Kantorow can be delicate too, while his brisk speeds… ensure that nothing sags - the second movement, which Cooper calls a 'floating barcarolle', is precisely that, and the finale fizzes with nervous energy.” BBC Music Magazine, March 2007 *****

“The first two violin concertos of Saint-Saëns were composed in reverse order. The Second is the longer and lesser-known of the two, but the First Concerto more resembles the thematic charm and concise design of the First Cello Concerto. Cast in a single short movement that falls into three distinct sections, it launches the soloist on his way right from the start, and features a delightful central section with some felicitous woodwind writing. Hyperion holds a trump card in Philippe Graffin, whose elegant, emotionally charged playing is strongly reminiscent of the young Menuhin, and whose understanding of the idiom is second to none – certainly among modern players.
Saint-Saëns's First Violin Concerto was composed in 1859, whereas his Second preceded it by a year. Unexpectedly, the first movement's thematic material has an almost Weberian slant. The orchestration is heavier than in the First, and the musical arguments are both more formal and more forcefully stated. It's a more overtly virtuoso work than the First Concerto, and perhaps rather less memorable, but again Graffin weaves a winsome solo line and Martyn Brabbins directs a strong account of the orchestral score, with prominently projected woodwinds. The relatively well-known Third Concerto (1880) is roughly the same length as the Second (around half an hour), but is more consistently interesting. The basic material is of higher quality, the key relations more telling and orchestration infinitely more delicate. No other recording liberates so much of the score's instrumental detail, probably because most of Graffin's predecessors have been balanced way in front of the orchestra.” Gramophone Classical Music Guide, 2010

“Graffin, with rich firm tone, gives performances full of temperament, warmly supported by Martin Brabbins and the BBC Scottish Symphony Orchestra, and the recording cannot be faulted.” Penguin Guide, 2011 edition

“Grumiaux is [...] classical in style: unhurried, with carefully shaped phrasing; and, as always, with his marvellous tone showing everything at its best” Gramophone Magazine

“Ulf Hoelscher has the technique and artistry to take full advantage of this in terms of bravura display and, even better, in the soft and gentle sections... It is however the music even more than the playing which makes this an irresistible set...yet another winner from Brilliant’s constantly satisfying series of reissues.” MusicWeb International, August 2012

“Rachel Kolly d'Alba's playing immediately grabs our attention. Passionate commitment to the music, rich tone and constantly varied expression combine to leave a powerful, memorable impression...while stressing the dramatic and colourful side of each work, her interpretations are well balanced and persuasive, too.” Gramophone Magazine, Awards Issue 2011

“The way she gently eases into the magical final section of Saint-Saens' Violin Concerto's slow movement is unforgettable, so too her beguilingly seductive handling of Ravel's volatile gypsy inflections and introspectively dreamy Chausson. Apart from the slightly claustrophobic sound in the Saint-Saens, this is a perfect showcase for a young player whose musical insights are of the higest calibre.” Classic FM Magazine, November 2011 ****

“Impressive playing from the extrovert and intelligent Kolly d'Alba. She gives her all in the hothouse Romanticism of Saint-Saens and is sensitive to the mesmerism of Chausson's Poème and Ravel's Tzigane.” BBC Music Magazine, December 2011 ****

“Kolly d'Alba is a fearless, passionate and responsive violinist, although her power (as recorded) may be too strong for Saint-Saens's delightful concerto. She can charm though, as the enchanting central movement demonstrates.” International Record Review, January 2012