This CD presents two violin concertos written within the past 20 years. The Adams work is the most recent, dating from 1993, after the composer had abandoned his minimalist techniques. It is a well crafted work but only the slow Chaconne, subtitled “Body through which the dream flows”, makes much of a lasting impression. Its nervous, lyrical feeling is fascinating if somewhat bizarre and unsettling. The outer movements strike me as technical exercise, the kind of music one can admire but have difficulty in really liking, or remembering, once the CD is put away. The Glass concerto comes from 1987 and is written in the composer’s well-known minimalist technique. Harmonically simple rhythmic ostinatos, either in the orchestra or solo part, chug along like a Richard Robbins theme for a Merchant-Ivory movie. Melodies are played against these rhythmic blocks to greater, and lesser, effect. It listens well, but again, is scarcely memorable once it isn’t around. Young Robert McDuffie fiddles to a fare-thee-well; this is virtuoso playing of the first order. Conductor Christoph Eschenbach supports him 100 percent, and has the Houston Symphony sounding like a true first-class ensemble. The recorded sound is rich and full; if you are set up for theater sound, this CD is encoded with compatible surround that provides good ambience and excellent front stage depth when you kick in those rear channels.
