No violinist of today cherishes the Romantic tradition more than Joshua Bell does — and he has done much to perpetuate it. His latest album is “Voice of the Violin” (Sony), giving us violin transcriptions of songs and arias. Schlocky, sappy, schmaltzy? These pieces would be those things, if you played them that way. But Mr. Bell doesn’t. He is a smart, tasteful Romantic player. And any violinist who can’t breathe and produce like a singer has no business before the public.

Many of the pieces here have long been played by violinists — such as Debussy’s song “Beau soir” (in the Heifetz arrangement). But other things are new, or at least they were to me: “Una furtiva lagrima” (the Donizetti aria)? A selection from “Carmina Burana”?

Mr. Bell ends his album with a Strauss song, and an actual singer: Anna Netrebko. Thus has Sony (or someone) joined two superstars.

Strauss made an arrangement of “Morgen!” involving the violin, and Mr. Bell does his part beautifully. I’m not convinced of Ms. Netrebko as a Strauss singer, but one must give her a chance. Imagine her Salome!

Accompanying Mr. Bell on this album is the Orchestra of St. Luke’s, conducted by Michael Stern, son of the late Isaac. He certainly had the violin sound — and a singing one — in his ear, while growing up.

MYUNG-WHUN CHUNG
Ravel’s “Daphnis et Chloé”

Myung-Whun Chung is, of course, Korean, but one thinks of this conductor as almost French, because he has spent so much of his career there. He has now recorded Ravel’s ballet “Daphnis et Chloé” — complete — with the Philharmonic Orchestra and Chorus of Radio France (Deutsche Grammophon).This is a commendable recording, too.

And slightly unusual: It is tight, sinewy, and vigorous, not the least airyfairy. Seldom do you hear this score so stringent, and this quality serves the music well.But Mr. Chung’s account does not lack for delicacy or sensitivity. You will hear more beautiful performances, granted; but this one has enough beauty, and that refreshing muscle, to boot.

And may I say that, when music calls for a climax, Mr. Chung can really give you one: That in “Daphnis et Chloé” is a doozie.

May I say this, too: Deutsche Grammophon has a couple of arty nudes on the cover, complete with some derrière. Whatever moves copies . . .

MONIQUE HAAS
Complete Recordings on Deutsche Grammophon

That same company has rendered a huge service by issuing an eight-CD box set of Monique Haas. (No derrière on the cover.) Who is Haas? She was a French pianist who lived between 1909 and 1987, and she deserves a bigger reputation in America, and elsewhere. Perhaps this box set will help give her one.

She was a pianist of exceptional taste, poise, and refinement, not dissimilar to Clara Haskil or the early Murray Perahia. She played with great clarity, and had a sure sense of line. She would not brook any excess, and was loath to show off.If I had to compare her to a pianist of today, I would probably choose Leif Ove Andsnes, when he is at his best.

Over Deutsche Grammophon’s eight CDs, we hear Monique Haas in a wide range of music (as you should expect from such a set). There is Mozart and Haydn — a natural Classicist, was Haas. There is Schumann, including the concerto, played with Jochum and the Berlin Philharmonic. There is an abundance of French Impressionism, including both books of Debussy preludes and both Ravel concertos. (The G-major concerto appears twice, under two different conductors.)

And she was an exponent of modern music, or then-modern music, we might say: Stravinsky, Hindemith, Bartók. Her recording of Bartók’s Third Piano Concerto, with the composer’s student Ferenc Fricsay, is one of the best you’ll ever hear. It has a Classicism that utterly becomes it.

Another composer Haas championed was the French-Romanian Marcel Mihalovici.He was her husband, and he predeceased her by two years.

When you spend time with this box set, you feel that you are in the company of a brainy, civilized woman who understands music, and knows how to play the piano.That’s because you are.

EVELYN LEAR & THOMAS STEWART
A Musical Tribute

Speaking of box sets from DG, we have another one — this one containing five CDs — documenting the singing of Evelyn Lear and Thomas Stewart.She was — is — a New York-born soprano, and he was — is — a Texas-born baritone. Why should they be paired? Because they are married, one of the most celebrated couples in music.

The CDs provide arias from both opera and oratorio, and many songs, and duets. Each was a distinguished singer, and each, undoubtedly, benefited from their partnership.If you think you can listen to no one but Marilyn Horne in “Beautiful Dreamer”— and I won’t blame you — try these two voices, entwined. Very nice, and very American.

GEORGE LONDON
Spirituals

Finally, Deutsche Grammophon brings us an album of spirituals, recorded by George London, the great Canadian-American bass-baritone (1920-1985). Never before has this album been released — because London withheld his permission.Ordinarily, I am against overriding a performer’s wishes, but in this case I disagree with him, and agree with the company.

It is a marvelous and valuable album.

London’s rich, warm voice and largeness of soul suit spirituals. Some of the arrangements are a little hokey, but isn’t that always the case with such albums? There are hokier, trust me.

London made this recording in Munich, in 1963. Accompanying him are a Bavarian orchestra and choir.This underlines the universality of some of the best music we know.