In the Brahms, Hadelich proves a sensitive and technically secure guide to the score’s alternations of serenity and passion, subtly varying degrees of vibrato; Miguel Harth-Bedoya unfolds the structure with spacious clarity…Ligeti’s extraordinary five-movement conflation of textural iridescence, folkloristic melancholy and Grand Guignol is more involving.

Hadelich’s performance of Brahms’s Violin Concerto abounds with subtle detail… In this age of historically informed practice, I’m tempted to describe this as a resolutely traditional interpretation… The Ligeti Concerto is also given what might be described as a traditional reading… His propensity for finding lyricism in unexpected places doesn’t mitigate any of the music’s visceral thrill.

The remarkable violinist’s pairing of concertos is unusual, but oddly satisfying. In general, Brahms is gloriously undermined by Ligeti, flying free of traditional notions of tuning, phrasing, balance, yet somehow rejoining tradition in the process.