Barber / Korngold / Walton: Violin Concertos

"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."
Rosette Recording - Penguin Stereo Guide

"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 the tonal beauty, with expressive rubato perfectly controlled.

The concertos date from the late-1930s and '40s, and though at such time their romanticism might have seemed outdated, the strength and memorability of the musical ideas in each amply justifies the composers' stance.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 usual 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 Symphony Orchestra under its music director 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 Feb 2007)

Young Canadian violinist James Ehnes makes his debut on ONYX with this unique and very generous 79 minute coupling of the mid- 20th century's three most romantic Violin Concertos.

As one of Hollywood's busiest composers of film scores, Erich Korngold was at the top of his profession. His 1947 Violin Concerto turns inward to the lush melodies and plush orchestrations he knew so well from his work in the studios.

Barber and Waltons' Concertos also date form the 30s and 40s and are two of the most melodic and popular in the repertory.

"Mr. Ehnes can really play," raved the New York Sun for his début with the New York Philharmonic earlier this year, playing the Walton concerto: "Seldom will you hear such singing on a violin."

Ehnes has been getting rave reviews around the globe - his career goes from strength to strength.

A three-concerto offering from James Ehnes which, with 78 minutes of music (Jansen offers 59), must be one of the year's bargains. The Korngold, Barber and Walton Concertos, with the Vancouver Symphony Orchestra under Bramwell Tovey, prove to be a right triple treat.

Korngold upgrades his lush Hollywood scores of the 1930s to concerto status. In performance this is as remarkable for Ehnes' effortless spinning of his solo part as for the clear textures of the orchestral ebb and flow.

A special partnership between soloist and orchestra is evident from the first few phrases of the Barber Concerto. Prepare to be bewitched by the oboe solo in the Andante and left quivering after the possessed final movement.

If Korngold and Barber are too lush for your palate, then Walton's Concerto adds a dash of stylish bitters, especially in its deliciously mordant Presto, and an English conductor is appreciated when it comes to catching the strut of its final Vivace.

- William Dart, NZ Herald