Mendelssohn, Panufnik, Takemitsu, Bach

"Alexander Sitkovetsky's sleek, silky tones are equally well suited to the elegantly formal veneer of Mendelssohn's music as to the darker emotional intensity of Panufnik's." --Gramophone

In case you were wondering - I was - what could possibly tie these four seemingly disparate works together, the answer is Yehudi Menuhin. It was Menuhin (the bookletnote informs us) who commissioned the Panufnik and Takemitsu pieces, gave the first modern performance of the early Mendelssohn concerto,

and made a famous recording of the Bach Double Concerto with his teacher Enescu (this last a tenuous connection, perhaps). Listeners will have to decide for themselves how well the programme works in actuality.

I was not entirely convinced, though I was bowled over by Alexander Sitkovetsky's performances, and it's a treat to hear him play in a variety of styles. Indeed, his sleek, silky tones are equally well suited to the elegantly formal veneer of Mendelssohn's music as to the darker emotional intensity of Panufnik's. The latter work is especially welcome as it has been neglected on disc, which is odd considering how attractive and affecting the score is - it overflows with aching lyricism and melancholy tunefulness. Sitkovetsky seems to sing his part, shaping its sometimes angular phrases with sensitivity and grace. He is equally impressive in Takemitsu's more intimate sound world, paring down his toile to a fine, glistening strand, while also exploring the music's fragile sensuality.

In the Bach Double Concerto, Sitkovetsky is joined by his uncle Dmitry, and it's fascinating to hear how well matched they are - Alexander (playing the prime part, I assume) having a more refined and slightly brighter sound. Theirs is a stylish performance, too, featuring long lines, flowing tempi and nimble orchestral playing. In fact, despite the awkward name, the New European Strings Chamber Orchestra are a tight-knit band with a handsomely warm sound. Recorded in the Henry Wood Hall, London, in 2002, when Alexander was not yet 20, this disc offers further evidence of a career that could (and should) be spectacular. -- Andrew Farach-Colton, Gramophone [8/2004]