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Caroline Gill
Gramophone, July 2015

GRAMOPHONE SPECIALIST’S GUIDE TO… Player and instrument partnerships

This is the first concerto recording made by Menuhin, in 1931. He is playing his ‘Prince Khevenhüller’ Stradivari, which was purchased for him when he was 12 years old. The recording is made even more interesting by the fact that Menuhin had recently received the matching ‘Khevenhüller’ violin bow as a gift from influential dealer Emil Herrmann. There is a strong sense in this recording of the promise of the future. © 2015 Gramophone



Penguin Guide, January 2009

Menuhin’s second recording (in stereo) in partnership with Sir Adrian Boult is hardly less moving and inspirational than his first. Boult directs the performance and with a passionate thrust in the outer movements and with the warmest Elgarian understanding in the beautiful slow movement. There is an added maturity in Menuhin’s contribution, to compensate for any slight loss of poise or sweetness of tone, and the finale—the most difficult movement to keep together—is stronger, more confident than it was. The 1966 Kingsway Hall recording is characteristically warm and atmospheric, yet vividly focused by the CD transfer. Boult’s personal insight into the problems of Elgar interpretation is well illustrated in the pair of overtures offered as coupling. Though other Elgarians may be more ripely romantic, Boult with his incisiveness is both dramatic and noble, and the early 1970s sound is well up to EMI’s high analogue standard.





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