Competition is very strong in this coupling, coming as it does within a couple of years of Daniel Hope’s outstanding performances with the Chamber Orchestra of Europe. James Ehnes plays an extremely polished and elegant Mendelssohn concerto, including some stylish portamento (even in the quick movements) and pointed phrasing throughout. The start of the finale sounds a touch frantic, but otherwise the music breathes and flows naturally. Any problems stem from the rather bland and faceless accompaniments coming from Ashkenazy and the Philharmonia.
The Octet, on the other hand, is wholly wonderful. Its first movement particularly moves along at a perfect pace–not too slow, but not so quick that it sounds (as it so often does) like an arpeggio etude on steroids. Throughout, the Seattle Chamber Music Society plays with exemplary balances and a warm, attractive tone. Ehnes, quite rightly, has a strong following, and fans won’t be disappointed; but if you’re in the market for the best coupling of these particular works, then stick with Hope on DG.
