When Itzhak Perlman’s recording of Brahms’ Violin Concerto was released in 1977, it was instantly recognized as one of the finest ever made of the piece. Perlman’s initial entry in the opening movement is immediately compelling, the finely traced figurations which follow conveying an emotional edginess above and beyond their ostensibly decorative function. Perlman’s grungy double-stopping brings grit and gravitas to the expansive, 25-minute opening movement, counterbalancing the soaring lyricism of his playing in quieter moments. Perlman’s honey-sweet singing tone comes to the fore in a vernally fresh account of the concerto’s beautiful slow movement. The finale, by contrast, bristles with athleticism, Perlman launching into Brahms’ vaulting dance-rhythms with a joyful swagger. Conductor Carlo Maria Giulini and the Chicago Symphony Orchestra play a major part. The ensemble’s burnished quality and Giulini’s scrupulously attentive accompaniment add significantly to the impact of what is unquestionably one of the great Brahms interpretations on record.