This outstanding recital serves to introduce a remarkable new Russian/Israeli violinist, of whom I am sure we shall hear much more. Vera Vaidman was born in Leningrad and studied in Moscow, under David Oistrakh, among others. In 1973 she emigrated to Israel, and has since established a considerable reputation both in her adopted country and in the USA. The programme - one of a new series deriving from the Israeli CDI label and marketed here by Pickwick - seeks to establish a mood. Its title, rather misleadingly, is "Romantic Strings". The recording is exceptionally successful, very natural in balance and presence, with the duo not over-projected: the effect of the music-making is so consistently spontaneous, one has the impression of having the artists performing live in one's room.

The three Tchaikovsky morceaux de concert make an admirable opener. Each is in triple time, but there are changing moods; from nostalgic melancholy to easy brilliance and returning to a warmer lyricism. Vaidman responds with engaging delicacy - the lyrical melodic line tender, never too ripe - and with much subtlety of light and shade, or with an insoucient virtuosity. Her rubato effortlessly follows the music's flow. Then comes Dvorak's wonderfully inspired Sonatina, with the New World hovering over every bar, and producing a blossoming of melody in the finale with which anyone who knows the symphony will be enchanted. It is played here with all the freshnessof new discovery: rhythmically and melodically the ear is continually captivated. Then comes the simple, direct charm of Schubert, winging to the listener with impeccable taste and finesse, yet no lack of urgency. Finally three Kreislerian lollipops, thrown off with unforced virtuosic flair, the music coaxed disarmingly.

Emanuel Krasovsky accompanies discreetly in the outer groups, though always giving musical support: he sets the mood of the first Tchaikovsky piece most beautifully. In the two major works he enters the fray with a much greater projection of personality and engages the listener's attention in a true partnership with his gifted colleague. This is a record to treasure. I.M.

In the second half of the evening, Vera Vaidman played the Beethoven violin concerto. The emotions of an ideal world we long for, present in this concerto, have been interpreted in many different ways since this symphony-size work was composed. In Vaidman's performance the concerto was presented with burning passion and strong, many-faceted emotion. Her type of identification with the music's meaning and her absolute security with the technical aspect of playing produced the magic of the birth of a work of music in front of us, here in the Bartok Hall.

The audience ovation went out to an artist who was able to provide us with the singular experience of live music amidst so many media broadcasts and recordings. Tamas Kedves

Only by knowing the terrible mental stress under which Shostakovich lived and worked can modern audiences fully understand the meaning of his late sonata for violin and piano.

It is a shattering work. The first movement sounds like a funeral march, the second like a wild flight from a frightening and overpowering threat from which there is no escape. Yet this movement also expresses an explosive outburst of protest, as if the composer is raising his fist towards heaven. The third movement is a bit of an anticlimax - perhaps signaling acceptance - but the movement is interspersed with mysterious sound imagery which the last sounds only intensify.

To perform a work of such spiritual content not only demands great mental strength, but actually forces the performers to identify with a human outcry of gigantic dimensions. Vera Vaidman and Emanuel Krasovsky mastered the technical difficulties and in so doing brought to light Shostakovich's own ordeal. Their intensity of presentation, reaching a passionate climax, made this performance a shattering experience. Benjamin Bar-Am

Aber was eine hierzulande nicht bekannte zierliche Geigerin namens Vera Vaidman auswendig aus ihren vier Saiten zog, das war wirklich ein Meisterkonzert. Grosser Ton, das Orchester selbst im Fortissimo uberstrahlend, musikantische Gestaltung - ein Bravorufer im Publikum hat das Aussergewohnliche begriffren. (The Hindemith violin concerto.)

Vera Vaidman war die Solistin im folgenden Violinkonzert e-Moll, op. 64, von Felix Mendelssohn-Bartholdy. Mit ausserster technischer Perfektion,von einer Art innerer Unrast getrieben, entkleidete sie ihren Part jeglichen Anflugs von Sentimentalitat. Ganz Leidenschaft - appassionato in des Wortes ureigenstem Sinn - gestaltete sie den Kopfsatz. Ohne dem Andante seinen Schmelz zu nehmen, gingen auch hier immer erneut Impulse von ihr aus, die aetherische Kantilene ja nicht zu uberdehnen.