These two concertos, though vastly different, amount to harmonizing, big statements from a young talent. The Elgar is a pained, late-romantic reflection on the horrors of World War I (and one that critics think Jacqueline du Pré nailed half a century ago). It looks for uplift through tonality, distinguishing it from Elliott Carter's approach. (Even late Carter has a snarl to it.) Weilerstein likely chose the pairing to prove she can invest the hardiest modernism with her lavishly elegant sound. That she makes a persuasive entry in the Elgar sweepstakes on the same release is truly impressive.