Gorgeous recorded sound featuring warm, rich string tone and a huge dynamic range preserves performances of little discernible merit beyond clean playing. Both the Grieg and the Dvorák suffer from overly cautious, metronomic, inexpressive interpretations characterized by plodding tempos and prosaic phrasing. The outer movements of the Holberg Suite lack sparkle and verve, while the Moderato opening of Dvorák’s Serenade sounds closer to Adagio. The ensuing Waltz limps along charmlessly, and only the finale ultimately wakes up–too little too late. Elgar’s Serenade goes pleasantly and without making any particular impression for good or ill, but it’s not the major work–and despite the excellence of the engineering, these performances aren’t remotely competitive with the best available.
