In his 1981 debut recording coupling Mendelssohn's E minor Concerto with Bruch's G minor Concerto, Israeli violinist
Shlomo Mintz proved himself a technical virtuoso of the highest order. Nothing in either Romantic showpiece is beyond him: listen to his detachè bowing in Mendelssohn's hurtling Allegro molto vivace or to his seamless legato in Bruch's brooding Adagio. At the time, however, some listeners questioned
Mintz's tone -- was it not less elfin than elephantine in the Mendelssohn? -- while others doubted his interpretation -- was it not less expressive than excessive in the Bruch? Accompanied with strength and sympathy by
Claudio Abbado leading the polished and passionate
Chicago Symphony Orchestra and recorded with clarity and depth by Deutsche Grammophon,
Mintz's debut was warmly received by listeners who favored players like
Perlman and
Zukerman but coolly received by listeners who favored players like
Grumiaux and
Szeryng. The three
Kreisler encores -- Caprice viennoise, Liebesleid, and Liebesfreud -- are much more suited to
Mintz's talents, and they -- and he -- come off brilliantly in them.