In two respects this recording is a model. The plan to which we do not pay enough attention is the sound recording and the recent publication of the dazzling Concerto by Sibelius by Janine Jansen allows us to underline this. We deplored the fact that Jansen’s sound was part of a colorful and aggressive halo. Here is the antidote: James Ehnes’ timbre is neutral, but fair, ideally balanced in front of the orchestra. We have a recording, not a “sound construction”. This has a musical impact. The fascinating magic and uniqueness of Ehnes’ art in this perfect pairing of Serenade of Bernstein and 1er Concerto by John Williams depend on two parameters: the finesse and radiant beauty of the chanterelle (high string) and the subtlety in the management of the vibrato (e.g.: the last two minutes of the initial Moderato of the Concerto by Williams). All this would be distorted or blurred with Jansen’s CD engineers. It is for this, beyond the brilliant orchestral and violin art, that the CD by Ehnes and Denève is a reference in its field.
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