<<<  <<  -- 2 --  Robert Anderson    ESSENTIAL LYRICISM

Both violin concertos have four movements, the First dating from 1915. The opening theme betrays its wartime origin, sombre in its tragic implications. But the essential lyricism of the solo instrument soon takes over before returning to the mood of the start.

The Brahmsian variations of the leisurely finale are cunningly prepared by the sardonic Scherzo.

In the Second Concerto (1949), the fine slow movement forms the work's emotional core. It is preceded by an Intermezzo that recalls the wit of the Nursery Variations.

The finale has some of the brashness Dohnányi doubtless associated with his adopted land.

Michael Ludwig is a fine advocate for the two concertos, having total technical command as also a relaxed approach to the winding cantilena that Dohnányi so deftly spins for the soloist. It is a very impressive performance. It is clear that JoAnn Falletta, doughty champion of many American novelties, has admirable understanding of Dohnányi's late-Romantic idiom, allowing the music all the breathing-space it needs but underlining, too, its latent humour. The Royal Scottish National Orchestra is on splendid form, with many a telling solo line, and worthy corporate response to a composer Naxos is rightly championing.