Tastes differ, of course, but if I were asked to name a violin concerto recording that had the solo instrument and the orchestra in ideal balance, I would name this one, without hesitation. EMI in 1990 did Tennstedt and Kennedy proud, whatever you might think of the interpretation. In the first movement, violin and orchestra share thematic material but seem to be assertive in their respective ways; in the other two movements, they seem more in conversation, and the effect is very engaging. Kennedy's playing here seems to divide opinion, but it seems lovely to me. He takes his time, but nothing is dull -- in the long first movement, he enables us to savor the cadenza-like moments, the lyrical interludes, and the more positively attacked sections, and he and Tennstedt manage the transitions between them very convincingly. That first movement is a drama in itself, full of variety in their hands. The second and third movements are expressively less complex, but both are beautifully played -- the lullaby-like second movement is like an intimate conversation between violin and orchestra, and in the third, Kennedy has fun with the bells and whistles: it's highly enjoyable. I should add that I found Kennedy's own first-movement cadenza perfectly fine, and played with lovely tone quality. This concerto is a great work, and there's more than one way to do it. Like Salerno-Sonnenberg, Kennedy is on the slow side (though more varied in expression than S-S), and it works just fine. Really good musicians lead you in to a willingness to dwell in their sound-worlds, and Kennedy and Tennstedt do that here.