Not only does Rebecca Hirsch (for the most part) make light of the solo part's fiendish technical difficulties, her playing evinces a beguiling lyrical beauty that's breathtaking. By the side of both Ida Haendel and Lorraine McAslan, she perhaps lacks the last ounce of fiery temperament (and there are a handful of tiny misreadings), but generally she's convincing and characterful.
In the Cello Symphony, Tim Hugh displays a profound musicality, great subtlety of tone and affecting lyrical ardour that puts in mind Steven Isserlis's account with Richard Hickox, though not quite achieving the dark-hued individuality and unremitting logic of that distinguished 1987 production. Nor does it displace dedicatee Rostropovich's blisteringly intense, composerdirected versions of this gritty masterpiece, but Hugh's achievement is considerable and he more than holds his own alongside the formidable roster of current rivals.
Takuo Yuasa draws an eloquent response from his forces. However, at the Violin Concerto's opening Moderato con moto, some leisurely tempos tend to undermine the purposeful thrust of the whole. Sound and balance are generally very good indeed.