Thursday 18 October 2018
Gramophone Editor's Choice: Transfigured Night
"For a performance that combines chamber musical intimacy, transparency of detail and urgent human expressiveness, you won’t do better than this."
You’d go far to find performances of the Haydn concertos that match Alisa Weilerstein’s mix of stylistic sensitivity, verve and spontaneous delight in discovery. Weilerstein is a risk-taker by nature; and the helter-skelter finale of the C major takes impetuosity to the edge. But such is her technical prowess, and the mingled eagerness and skill of the young Trondheim Soloists, that she carries it off, brilliantly. She brings a puckish glee to the lightning passagework in thumb position, yet never short-changes Haydn’s brief moments of lyrical eloquence.
[Check out the album here:]
Both first movements, too, are unusually mobile, and all the better for it. Here is music-making with a spring in its step and a twinkle in the eye that, you sense, would have delighted Haydn.
Photo by Marco Borgreve