The booklet notes cite Haendel’s as the first recording of the two Serenades (although Igor Bezrodny’s on a Russian label preceded it); and nearly 30 years later they still haven’t attracted a great deal of attention. Haendel seems to have adjusted her approach to their lighter, more playful nature. But Tetzlaff’s less mannered way with the First (Virgin 7243 5 45534 2 4, 26:6) and Mutter’s languid yearning in the Second (Deutsche Grammophon 447-895-2) provide more than simple challenges. The Third of the Humoresques, op. 89 (the tantalizing “Commodo”), brings the program to a conclusion that suggests a progression from darkness to light—although there’s more of Uma Thurman (Kill Bill) than of Maurice Chevalier about her way with this jaunty bon-bon.

Ida Haendel’s playing commands attention in an old-fashioned way that many younger players seem to have eschewed. However one might second-guess the choices she makes in individual passages, they emanate from a personality determined enough to vie with that of the composer for attention. Some violinists may cherish the hope that an evening of their Sibelius will prompt listeners to respond directly to Sibelius. In Haendel’s case, there’s no getting around her: it’s not just the composer’s, but Haendel’s Sibelius, too. For some that may seem an obstacle to full satisfaction. But if I could hear Homer reciting the Iliad, I’d be as riveted by hearing Homer’s voice as by the great epic itself. Homer, Haendel—both strongly recommended.

Robert Maxham, FANFARE