“This is playing in the grand manner. From the start of First Concerto you're aware of a consciously leonine approach. Zimerman even deliberately takes risks in a few technically perilous places where some of his colleagues, at least in the studio, play safe; and indeed his octaves in the opening cadenza are an example. The result sounds spontaneous and, yes, even brave. Ozawa and the orchestra are behind the soloist in all this. Not only do lyrical sections sing with subtlety, the big passages also are shapely. There's plenty of drive in this Concerto. In the Second Concerto Zimerman adopts a different approach; he evidently considers it a more poetic piece and the playing style, strong though it is, is to match. Finely though he handles the gentler music, there are odd sniffs and hums in the molto espressivo passage following the D flat major cello solo, and also in the last of the work's quiet sections. In the gorgeously grisly Totentanz, both the music and the playing should make your hair stand on end. The sound has a depth that suits the music and the piano is especially impressive. Zimerman's freshness (he reminds us that this is a young man's music), and the coupling, makes this disc a most desirable one.”
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