It is partly this shrewd and practiced but quite unobtrusive craftsmanship that gives these pieces their unmistakably personal flavour, their ability to encompass a wide range of mood and texture within a short movement. The finale of the Clarinet Concerto lasts a few seconds over five minutes and includes nimbly pattering scherzo material, gracious lyricism, athletic energy and jovial exuberance, but they are unified, not merely juxtaposed. Still more important is Goldschmidt’s melodic gift, and it is not only in slow movements that his plangently expressive, long-breathed, sometimes shadowed or mournful lyrical lines are at their most striking. His lyricism is firm and strong, and a fast movement does not have to relax to incorporate it. The slow movement of the Violin Concerto is marked Andante amoroso, but its beauty is grave and ample, not languishing. All three of these concertos, in fact, are strong and rich enough to repay repeated listening, and what renewed acquaintance proves is that each of them, without any feeling of hurry or excessive concentration, is far bigger than their durations might imply.

The Violin Concerto was recorded in December 1994, after a series of performances by Chantal Juillet that so impressed Goldschmidt that he dedicated the neglected 40-year-old work to the soloist who had given it new life. Although he did not live to see the release of that recording he had the satisfaction of knowing that it was being delayed until it could be coupled with his other two concertos, both played by soloists who could hardly be bettered. Juillet’s reading of ‘her’ concerto is indeed a splendid one, but the others here are no less fine, and all three are admirably recorded.

-- MEO, Gramophone [1/1998]