Shostakovich Violin [Concerto] Concertos—No. 1 in A minor, Op. 77; No. 2 in C sharp minor, Op. 129. Dmitry Sitkovetsky (vn); BBC Symphony Orchestra / Andrew Davis.

Virgin Classics (Full price) (Cassette) VC7 91143-4; (CD) VC7 91143-2 (67 minutes: DDD). Later (CD) VC7 59601-2.

No sooner have Mordkovitch and Chandos provided an ideal coupling in a fine modern recording, than Virgin Classics follow suit. Sitkovetsky's performances are sharply contrasted with those of Lydia Mordkovitch, providing a clear alternative, altogether cooler, more detached, in some ways more classical in approach. Though I myself firmly opt for Mordkovitch in performance, finding a depth and range of expression missing in the newcomer, I can imagine that some Shostakovich devotees will take the opposite view.

It was in Concerto No. 2 that Mordkovitch was particularly illuminating, and it was with that under-appreciated work that I began my comparisons. Sitkovetsky's speeds are generally faster, and the difference of manner is established in the opening Moderato. Mordkovitch finds a hushed intensity at the start, making Sitkovetsky seem too extrovert by comparison. She is then much more fiery in the bravura double-stopping which follows, making Sitkovetsky seem very literal, not helped by rather pedestrian playing from the orchestra. Similarly, at the start of the second movement Adagio Sitkovetsky's full tone fails to convey an inner quality as Mordkovitch does, with a much narrower range of tone and dynamic. The pianissimo return of the main theme seems relatively ordinary by comparison. In the finale Sitkovetsky's lighter manner has its advantages, but with her weightier tone (as recorded) Mordkovitch finds more fun in this dancing Allegro.

The contrasts are similar in the much better-known First Concerto, and there it is interesting that though Perlman (EMI)—as usual—in his very exciting live recording is recorded very close indeed, he still conveys more clearly a full range of tone and dynamic, where surprisingly Sitkovetsky, always clean and clear, is not helped by the slight distancing typical of Virgin Classics sound. I now prefer Mordkovitch to both, even though with the fastest speed of all in the finale she has moments of wildness, very different from Sitkovetsky's clipped precision.

EG