Just because the Beethoven Third Concerto recorded for West German Radio Cologne on February 25, 1957, was well preserved does not necessarily warrant its release on CD more than half a century after its transmission. Not that there's anything wrong with Friedrich Gulda's clean, stylish playing, Mario Rossi's penchant for lean textures or the WDR orchestra's excellent oboe and bassoon soloists. But neither is there anything memorable or unique enough to elevate this performance alongside dozens of better-played, better-recorded and more interesting Beethoven Thirds.

The first movement's Allegro proceeds at less an urgent con brio than a pleasant amble, while its generally square-cut phrasing causes one's ears to prick up when the orchestra and pianist momentarily misalign (for example, in the development section at about 7'47"). The strings' scrawny tone and occasional woodwind intonation problems come home to roost in the Largo, although the Finale gains power and dynamism as it progresses. Gulda alternates between dutiful (his tinkly, schoolboyish scales in the first movement), unyielding (his pounded-out Finale coda) and sensitive (his accompanying arpeggios in the Largo).

The sonata tapings took place three days earlier. Gulda's fast tempi and brilliant fingerwork in the Appassionata's outer movements (what a last-movement coda!) admit more flexibility and room for nuance in contrast to the pianist's “horse with blinkers on” Amadeo remake from the 1960s. In his well judged Andante con moto, Gulda zeros in on the first variation's single-note left-hand syncopations, relishing the dissonant clashes.

Gulda's subjective and impulsive way with Op 101's first movement brings his often underappreciated lyrical gifts to the fore. Conversely, the Scherzo's meticulously sprung dotted rhythms march to an overly militant, rigid tune. Superbly calibrated trills ensure a joyful transition from the Adagio into a driving yet never driven Finale distinguished by Gulda's crisp articulation and cogent scaling of dynamics. However, by that time, the piano tuner had apparently left the building.