he Bloch triptych, displaying a natural affinity for its Hebrew sonority and temperament. The opening is spell-binding, and the closing 'Simchas Torah' (Rejoicing) especially compelling. The Bunch Fantasy, written and dedicated to the soloist, is a strange piece, which opens rather weirdly ('the struggle for existence of fantasy in the face of 20th-century reality') and then suddenly produces a luscious, even sentimental tune, which will surely endear it to audiences. The Sarasate is technically marvellous, but the first section, admittedly rhapsodic, tends to sound rather episodic. The big tune is treated more subtly than usual, and the closing fireworks are scintillating.

Shapira receives good support from Charles Hazlewood and the ECO, and EMI characteristically has its microphones placed so that the violin itself is truthfully caught, and well balanced with the orchestra. I am sure we shall hear more of these artists.

-- Ivan March, Gramophone [5/2000]