Ida Haendel evidently has strong ideas about Elgar’s masterpiece. Impassioned and full of character though her playing is, it is, however, simply too erratic (both interpretatively and technically) to bear repeated scrutiny – such a pity, for her actual tone-production is memorable. Pritchard accompanies sturdily (with occasional glimpses of something more), but it’s hardly a match made in heaven. Haendel takes a while to settle down (she is fractionally sharp for a few pages after her initial entry), and her volatile, propulsive approach frequently catches the hapless Sir John unawares. The central Andante lacks intimacy and repose. The finale starts promisingly, but Haendel’s bullish, comparatively extrovert way with the cadenza will not be to all tastes. Moreover, prior to the (insupportably inflated) final bars, soloist and orchestra are disconcertingly out of synch from 16'25'' to 16'39''. Ripe, agreeably balanced sound. The coupling – a stirring (and rare) outing for Polonia – may raise an eyebrow or two, but for the main work I’d look elsewhere.
As far as the concerto is concerned, bargain-hunters are notably well served at the present time. Dong-Suk Kang’s Naxos version remains a formidable contender at any price, and I continue to have a soft spot for Hugh Bean’s underrated (and splendidly balanced) 1975 recording with Groves and the RLPO. Personally speaking, I have never shared the general enthusiasm for the Zukerman/Barenboim performance (although, granted, it is preferable to Zukerman’s own later RCA account with Slatkin, 1/94 – nla). On the whole (and provided mono sound isn’t a complete turn-off), I’d turn instead to Alfredo Campoli’s eloquent 1954 recording, which has the benefit of a gloriously lucid and watchful accompaniment from a vintage Boult and the LPO. Still available on Beulah (paired with Campoli’s delightful 1958 taping of the Mendelssohn Concerto), it has now also appeared on Belart coupled to Bliss’s Theme and Cadenza and Introduction and Allegro. All are far more recommendable than this latest BBC Radio Classics offering.'