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Lynn René Bayley
Fanfare, March 2013

…Beethoven didn’t intend to be cuddly…That’s why he was Beethoven. And Weil speaks fluent Beethoven…Weil brings out numerous details, not only in this symphony but also in the Mendelssohn…I would place this performance alongside Michael Gielen’s “Eroica” in his complete set for Hänssler as being the two best modern recordings of this symphony I’ve heard—in fact, the best stereo versions since Charles Munch recorded the work with the Boston Symphony.

Indeed, as much as one admires the orchestra for their alternating moments of warmth, drama, and humor, it is Weil the conductor who makes these performances take life. His reading of the hackneyed Mendelssohn “Italian” is about as unhackneyed as one could imagine, the phrases shifting in both dynamics and accents as they flow one into the other. By doing so, Weil manages to avoid the mechanical feeling that so many conductors get out of this music, and he likewise employs dozens of subtle shifts and accents in the last-movement saltarello that also propel the music without the feeling of “overdrive” that the music is prone to. I would place this recording alongside that of Vladimir Ghiaurov as being one of the most exceptional performances of this symphony I’ve heard since the days of Toscanini.

Judging from this one performance alone, Weill’s Beethoven cycle with Tafelmusik, when completed, may very well be “the” Beethoven cycle played by a chamber orchestra using period instruments. © Fanfare Read complete review

WETA, December 2012

This recording pairs Beethoven’s Third, the Eroica, with Mendelssohn’s Fourth Symphony, the Italian.

Both the Beethoven and the Mendelssohn symphonies were recorded in concert, on period instruments, in May 2012 at Koerner Hall, TELUS Centre for Performance and Learning, The Royal Conservatory, Toronto. © 2012 WETA Read complete article

Phil Muse
Audio Video Club of Atlanta, November 2012

In a program composed of two of the most familiar warhorses in the repertoire, Beethoven’s “Eroica” Symphony and Mendelssohn’s “Italian” Symphony, the music comes up as fresh and exciting as if we were hearing it for the first time. Rhythmically and intellectually invigorating performances of both favorites make them stand out even in the fastest competition.

The “Italian” Symphony…has a vibrancy that stays with you for a long time. The Presto finale combines dance figurations from two distinctively fast Italian dances, the Roman saltarello and the Neapolitan tarantella, whipped up together into a fine frenzy.

In his account of Beethoven’s “Eroica,” Weil pays close attention to three of Beethoven’s favorite preoccupations: his love of rhythmic complexities, including syncopations; the use of sudden dynamic changes that can lift the unwary listener off his seat, and his employment of dissonance in the form of unexpected chromatic notes, such as the intrusion of C♯ into the main melody of the opening movement, to increase the harmonic tension.

The Scherzo features a Trio in which four the French horns, tuned in the manner of the chase with the fourth horn a semitone off, bound forth unexpectedly and sensationally. The last movement is a set of variations on the bass line of a theme Beethoven had used previously in his ballet Prometheus. As he does throughout this account, Weil judiciously manages the progress of this movement through its various stages, fugal treatments, and climaxes, building it to a splendid, stunning conclusion that feels absolutely right. © 2012 Audio Video Club of Atlanta

David Olds
The WholeNote, October 2012

The glorious sound of both the orchestra and the concert hall are captured expertly by German tone-meisters Stephan Schellmann and Peter Laenger. For my ears these brilliant and lively performances are totally satisfying. On this occasion the orchestral forces were supplemented to include 7-6-4-4-3 players in the string section with double woodwinds and trumpets and four horns. These latter are particularly worthy of note: Scott Weavers, Ronald George, Stéphane Mooser and David Parker for their impeccable intonation on that most difficult to control instrument, but well-deserved kudos go to all involved. © 2012 The WholeNote Read complete review

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