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These recordings are ‘based on a series of live performances’, a statement that implies patching, yet the end result is homogenous. The Triple Concerto is of large dynamic range: the near-inaudibility of the opening might take some by surprise. Sadly, the orchestral exposition borders on the routine; the special, felicitous touches come from the chamber music rapport of the three soloists. There is a lightness here, while the calm plateau of the slow movement moves naturally into the finale, led brilliantly by Tania Tetzlaff’s cello. Technically superb, this last movement exudes energy and boasts astonishing string articulation at speed. Overall a very variegated reading which does not knock Richter / Oistrakh / Rostropovich off the top spot.

The Piano Concerto No 3 is even more hotly contested territory, and this is a routine performance despite its live provenance. Some of the orchestral shadings are contrived, and Vogt has an annoying habit of introducing mannerisms just when he achieves flow. The cadenza is Beethoven’s, as is usually the case; the finale includes some clumsy rubato from Vogt. Ratings-wise, the Triple is four stars, the Concerto two, averaging out at three.

COLIN CLARKE Read the full review on Agora Classica

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