I bought this having heard her Kol Nidrei on the radio, so obviously I really like that. It was perhaps the deep plummy tone of her playing which appealed. The Elgar has the same luscious warmth of tone, but Weilerstein's playing does not seem as expressive and dynamically varied as Du Pre's whose playing just seems so lyrical and passionate. Du Pre gives me goosebumps every time. If only Du Pre could have recorded with the modern equipment now available.
So, for the technical sound quality and the player's tone this is a great recording, but Elgar still belongs to Du Pre as far as I'm concerned. But what do I know?
I certainly don't know if Weilerstein's decision to include the Carter concerto was genius or madness. This music (of the modernist "screech-plink-plonk" school) would make a superb soundtrack piece for an on-screen depiction of a schizophrenic nightmare ("The Snake Pit", 1948?) or an earlier German Expressionist film, with its relentlessly disturbing, unsettling atmosphere. Was this the intention, to put us through the manic, ecstatic passion of Elgar, then the depressive, disconcerting horror of Carter, before reconciling them in the stable, contented bliss of Bruch?
Buy this for the Elgar and the Bruch. I do, though, have a horrible feeling that Carter's wildness might grow on me just a little.