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" ... It looks a different game when we get on real Perlman territory: Max Bruch has a sentimental edge to himself that fits Perlman. Similarly Perlman fits Bruch in that he doesn’t actually sentimentalize music that already tends that way. While it’s wonderful that he twice recorded the Second Bruch concerto, it’s a shame that he never added the third Bruch concerto, though, and made an all-Bruch violin & orchestra disc of it (though you can, with the materials in this box); it might have had the stuff to challenge the lone (excellent) Salvatore Accardo recording that still reigns over that territory. Speaking of Bruch, among the doubled and tripled repertoire in this set is the Bruch-Mendelssohn combination – which means: Mendelssohn’s Second and Bruch’s First Violin Concerto, but both works are so famous at the expense of each composer’s other efforts in the genre, they’re just known for their respective composer as “The Violin Concerto”. There’s a 1972 recording with André Previn and the London Symphony Orchestra and another, 11 years younger, with Bernard Haitink and Amsterdam’s Concertgebouw Orchestra. And there’s even a third Mendelssohn with Barenboim from 1993. I get more out of the earlier effort that has the flower-shirt hippie artists on the cover… certainly I’m more taken by the orchestral oomph that Previn generates, compared to the magisterial if ultimately genteel, boring beauty that Haitink envelopes Perlman in. If you took the first Bruch #1 and the second recording of Bruch #2 (with the Scottish Fantasy under Zubin Mehta and the Israel Philharmonic), you’ve got a great start. This latter 1988 recording of Bruch’s Second certainly belies the easy wisdom of the earlier recordings being better with Perlman; perhaps it had as much to do with Jesús López-Cobos conducting the New Philharmonia Orchestra, but his 1977 recording of the exact same coupling with Perlman isn’t half as interesting. ... "