So when did Max Bruch become such a hot item? This is the third version of his Violin Concerto No. 1 to appear in the last few months (the other two were coupled with the justifiably rare Concerto No. 3). Can the market support all three? Will it even notice? It should definitely notice this one, as Aaron Rosand's performance is distinguished by its old-world, heartfelt lyricism, coupled with an aristocratic finesse that imparts a sense of authority that's less evident in Isabelle van Keulen's and James Ehnes' recent recordings, fine as they are. Rosand subjects his luxurious tone to much stress in the more impassioned and declamatory passages of the first movement, but he softens his grip for the tender Adagio, only to tighten up once again for the boisterous finale.

Rosand is no less excellent in the Scottish Fantasy, playing with a somber sweetness in the Grave and Adagio Cantabile; but later (with the aid of harpist Birgit Bachhuber) he really heats up the finale's rough-hewn dance. Christoph Wyneken and the NDR Radio-Philharmonie Hannover match Rosand's intelligence and brilliance with their own energy and enthusiasm, all of which comes across clearly in Vox's warmly resonant, naturally balanced recording. For solo work, this release at last supplants my favorite Lin/ Slatkin/Chicago Symphony disc (though the latter still sports more robust orchestral playing and aggressively vivid recorded sound). Plus, as a bonus you get Rosand's warmly poignant reading of Bruch's A minor Romance. A disc for everyone--Rosand fans, Bruch collectors, violin aficionados, and you.

--Victor Carr Jr.