Liza Ferschtman plays these two concertos (and the Ballad) very beautifully, and they are truly lovely works. The Concerto in A minor (1902) has two very long, slow opening movements, but the melodic ideas are so attractive that you hardly begrudge Röntgen the time he takes. The work is unified by a strikingly gorgeous, descending chromatic motive in which Szymanowski meets Wagner's "magic sleep" motive. You never know exactly when it's going to turn up, and whenever it does the result is bewitching. Ferschtman is particularly impressive in her high register, pure and singing, which is often exploited by the composer. The end of the slow movement is especially exquisite.
The Concerto in F-sharp minor dates from 1931, but stylistically there's little difference from the earlier concerto, aside from a greater economy and concision. Röntgen was an unashamed follower of the Leipzig school (his father was concertmaster of the Gewandhaus Orchestra), but a very good one. The finale of this concerto, for example, features a splendid principal tune, and sounds like no other work, even though the stylistic provenance is clear. The Ballad, from 1918, is also memorably lyrical and atmospheric. In short, this is just good music, very well played and recorded.
