The Brahms and Schumann concertos make an excellent and apt coupling, here given warmly spontaneous-sounding performances, very well recorded. The violinist, Ilya Kaler, is as clean in attack and intonation as Maria Kliegel. Kliegel in her opening cadenza allows herself full freedom, but any feeling that this is to be an easygoing, small-scale reading is dispelled in the main Allegro, which is clean and fresh, sharp in attack, helped by full-bodied sound. Kaler and Kliegel make the second subject tenderly expressive without using exaggerated rubato.
Similarly there's no self-indulgence in the soar- ing main melody of the central Andante, but no lack of warmth or tenderness either. The finale is then unhurried but has dance-rhythms so beautifully sprung and such delicate pointing of phrases that any lack of animal excitement is amply replaced by wit and a sense of fun.
In the Schumann Kliegel takes a spacious, lyrical view of the first movement, using a softgrained tone at the start with wide vibrato. She then builds up the power of the performance, and with Constantine providing sympathetic accompaniment, the spontaneous expression is most compelling. So, too, is the simple, dedicated playing in the central Langsam, and, as in the Brahms, Kliegel brings witty pointing to the finale, not least in the second subject. The balance of the soloists is good.

There are not many versions of the Brahms more warmly appealing than this.