This recording constitutes nothing less than a landmark in both the Hindemith and Walton discographies. The Walton Concerto is the better known of the two,...

This recording constitutes nothing less than a landmark in both the Hindemith and Walton discographies. The Walton Concerto is the better known of the two, but it’s an elusive work that often fails to make a strong impression. It has never received a more shapely, focused, and intelligent performance than it does here. Poltéra’s swift tempos and exceptional virtuosity give the music such freshness, while the long finale holds together better than in any other performance. If you’ve ever had doubts about this work, here’s an interpretation that will set them to rest.

As for the Hindemith, this is an absolutely wonderful piece, with a slow movement that contains perhaps Hindemith’s most memorable single tune. He used it a lot. Its second phrase opens the song cycle Das Marienleben, and it also appears in the Symphony in E flat. For some reason the work has never quite caught on, despite being very approachable and extravagantly scored. Janos Starker’s RCA recording was the best option before this, but that comes coupled (oddly) with the Schumann concerto, whereas the Walton makes a far more apt disc mate.

Poltéra’s performance simply puts everyone else in the shade. His tone has just the right combination of purity and sweetness, but it never turns sentimental. The virtuosic outer movements play as if self-propelled–and in this respect let us pause for a moment to give Frank Shipway and the São Paulo Symphony credit for their exciting but always sensitive accompaniments. The solo cello works, too, make apt and unusual couplings, and they are played with the same point and panache as the concertos. Stunning SACD engineering represents the icing on the cake. This is just glorious.

-- David Hurwitz, ClassicsToday.com