The technical accomplishment of Kliegel's playing is balanced by a richness of musical insight that won't disappoint. The boldness of the opening soliloquy recalls du Pré at her finest, and yet Kliegel shares a yet deeper cup of grief in the world-weariness of the main first subject, carried with noble conviction. She takes a more improvisatory view in the lilting second group than du Pré.
The Scherzo is brilliantly done, and at a very fast tempo, but the conductor Michael Halász overlooks Elgar's precisely noted A tempo indication in response to the soloist's cantabile largamente statements at the end of each main section.
The effect isn't only tedious, but is quite the reverse of the composer's intention, clearly stated in the score. The Adagio is thoughtfully played, avoiding unwelcome posturing or empty affectation, though Kliegel is, if anything, a little too cool and dispassionate here.
The finale is superbly paced, with the rumbustious militarism of the orchestration never allowed to dominate. The recording was made at Henry Wood Hall, and is full bodied and emphatic in major tuttis, yet one might have wished the overall balance to favour the soloist more than it does.

This fine addition to the Naxos catalogue is another outstanding bargain on this labe.