When artists of the stature of Vengerov and Rostropovich tackle English music it's often a revelation, and here's some of the most ravishing string-playing ever heard in either of these masterpieces. But these readings don't always follow convention, let alone metronome markings, and there's at least one choice of tempo that may have traditionalists spluttering in protest.
As you might expect with Rostropovich as conductor, the Britten is the less controversial of the two readings. The soloist's first entry over crisply sprung ostinato repetitions on bassoon and harp is marked dolcissimo, and the sweetness of Vengerov's playing in the high-lying cantilena is nothing short of heavenly. Here and throughout the work his free expressiveness, his use of rubato, far from sounding forced, reflects a seemingly spontaneous understanding, the creative insight of a major artist, rapt and intense. Rostropovich and the LSO match him in their warm expressiveness. The full-blooded recording not only covers the widest dynamic range throughout, but brings out many inner details in the orchestral writing normally obscured.
That's also true of the Russians' reading of the Walton Viola Concerto, with Vengerov evidently just as much at ease on the viola as the violin. Yet the timings alone will bear witness to the individuality of the reading. Vengerov is even more expansive than Kennedy or Bashmet, and the wonder is that, with Rostropovich in total sympathy, he sustains the slow tempo with rapt intensity, pure and tender with no hint of soupiness of the kind that mars the Kennedy version. Unconventional as it is, this is a reading that demands to be heard, even if Waltonians won't want it as their only choice.