Sara Chang brings her stunning virtuosity to Dvorák’s magnificent (and inexplicably underperformed if not under-recorded) Violin Concerto. Even as she plays with impressive technical finesse and brilliance, it’s also clear that she’s got the music in her heart as well as her fingers–evident in her lovingly sensitive rendition of the first movement’s joyously lyrical second theme, and in the Adagio’s soothing lullaby melody. But Chang also displays plenty of fire and spirit in the more animated portions, especially Dvorák’s athletically dancing finale. Still, Josef Suk provides more authentic-sounding rhythmic flair, along with an affectionate, homespun lyricism that so suits the music, even if he doesn’t fire off virtuoso sparks the way Chang does. Colin Davis and the London Symphony offer a fresh and idiomatic rendition of the orchestral accompaniment. Unfortunately, the orchestral recording is a bit diffuse, with Chang positioned quite a bit closer than you would hear in a concert hall.
Chang, Leif Ove Andsnes, Alexander Kerr, Wolfram Christ, and Georg Faust give a lively and rhythmically pointed performance of Dvorák’s expansive Piano Quintet No. 2. The outer movements display infectious energy, while the somewhat faster-than-usual tempo in the Adagio keeps the melancholy on the light side but shirks none of Dvorák’s heartfelt melodiousness. The recording presents a sharper focus and more natural perspective than that for the concerto. In all, it’s a novel and enjoyable coupling well worth your consideration–especially if you have neither of these works in your collection.
