Bloch's first movement is dramatic, beginning with a fanfare-like invocation in the brass and a long, defiant solo cadenza; this is followed by a slow movement of mystical cast and cantorial inflections, and a finale in which meditative musings give way to affirmation. Oliveira is commanding throughout, his tone ranging freely across Bloch's idiomatic writing, with an edgy dynamism to his playing. Williams and the orchestra are fine, making much of Bloch's colorful orchestration, with its mournful wind cries and brass interjections.

Another neglected concerto shares the disc--Benjamin Lees' Violin Concerto. It's an interesting work with lovely touches: a first-movement cadenza that exploits the full range of the violin, a haunting chorale in the winds that opens the Adagio, and an exuberant final movement. It's a good complement to the Bloch, but even after several hearings little sticks in the memory. The Bloch though, is a masterpiece, and the dilemma for collectors is which version to get.

Szigeti, whether with Mengelberg or in a Music & Arts box, a live performance with Mitropoulos in decent sound, is a must. Those wanting a well-recorded modern version have choices, including the two most recent. Schiff on Naxos is passionate, intense, and lyrical. Her conductor, Jose Serebrier, creates more atmosphere and rhythmic control than Williams does. But Williams and his Ukrainian band are very good and Oliveira more than matches Schiff in passionate intensity. In the upper ranges of the instrument his color and bite pay huge dividends in drama, while, if you're in a nit-picking mood, Schiff's tone sometimes can sound bleached. In many ways the choice lies between a more Dionysian approach (Oliveira) and a more Olympian one (Schiff). I'd give the nod to Oliveira, but wouldn't want to be without the Schiff.

--Dan Davis, ClassicsToday.com