This mixed Haydn concert opens with a highly sophisticated performance of the urbane Sinfonia concertante written in London (which Hoboken’s catalogue wrongly identified as Symphony No. 105). Solo and orchestral playing is consistently polished, interplay between the four protagonists deft and alert. The opening movement is spirited yet properly spacious, with plenty of room for the players to savour details like the wonderful chromatic counterpoint of the development (4'19''ff); and the sallies for oboe and bassoon in the finale (Gordon Hunt’s creamy tone a constant pleasure) are deliciously managed, though here Zukerman’s suave, impeccably tailored playing conveys too little sense of impish delight. I also thought his phrasing over-perfumed in the pastoral 6/8 Andante, given a dangerously slow, romanticized reading. The recording spotlights the soloists more than I find ideal in this hybrid work, part-symphony, part-concerto, and brass and timpani suffer in the orchestral balance.
The ECO’s smooth, string-dominated textures and Zukerman’s penchant for suave legato phrasing make for a rather bland performance of Le matin, also in effect a sinfonia concertante. Rhythms lack pungency, especially in the very ponderous, old-fashioned-sounding Minuet, and Zukerman’s own solo forays, with their artful dynamic shadings, are balanced too forwardly in relation to those of his colleagues – too much of a sense here of star-plus-supporting cast. In the D major Cello Concerto, whose popularity continues to defy regular critical broadsides, Ralph Kirshbaum is a strong, eloquent soloist, and negotiates with agility and aplomb Haydn’s taxing and sometimes ungrateful figuration. I specially enjoyed his grace and concentration of line in the Adagio, where he brings a beautiful hushed intensity to the main theme’s reprise (4'03''). Other readings, including those by Truls Mork and Yo-Yo Ma – both more conveniently coupled with the C major Concerto – have displayed a more subtle range of colour and a more delicate, fanciful touch in the finale; but Kirshbaum stands up pretty well against some hot competition. Orchestral support is reliable, if, again, plusher than I’d wish; and the close balance does pick up rather a lot of heavy breathing from the soloist.'