Kapell’s are exceptionally urgent readings, notably in No. 2, where the first movement gets you off to an electrifying start, pressing on at a far faster speed than usual. Yet there is nothing perfunctory about Kapell’s fast speeds, just a demonstration of mastery, both in the Concerto and in the Variations. The Ward Marston transfers are vivid and full, both in the Concerto (1950) and in the Rhapsody (1951). The Prelude, recorded in 1945, is dimmer.
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