This coupling of Concertos Nos. 2 and 3, which completes Stephen Kovacevich's Beethoven piano concerto cycle with the Australian Chamber Orchestra, broadly follows the pattern of the previous two issues from EMI Eminence (12/91 and 3/92). These readings are not so consistent as in his earlier cycle for Philips with Sir Colin Davis conducting (issued on CD in their bargain Concert Classics series), which remains one of the very finest sets issued. Here the digital sound is not as cleanly defined as it could be, even though it captures the chamber-scale well. Speeds in outer movements are again faster than before, and in the finale of No. 2 that brings a hint of breathlessness, with the orchestra taxed to the limit. Yet generally, their playing is well-pointed, and as ever Kovacevich (formerly Bishop-Kovacevich) plays with a concentration and detailed imagination that is consistently compelling. Helped by the closer focus and the more intimate scale, the muscular urgency and sense of spontaneity are even keener than before.
It is interesting to find the two slow movements given subtly different treatment, in the Adagio of No. 2—which resoundingly brings this earliest of the concertos within hailing distance of late Beethoven—Kovacevich is exceptionally spacious, adopting an even slower speed than before, making it a hushed meditation. By contrast he treats the Largo of No. 3 much more as a lyrical, songful piece at a flowing speed markedly faster than on the Philips recording, the results are still thoughtful and persuasive, as they are with Wilhelm Kempff, for example, in his later DG stereo version with the BPO under Leitner, similarly taken at a flowing speed. Kempff's earlier recording (in mono), like Kovacevich's is markedly slower and more meditative. I warmly welcome the restoration of that uniquely inspired cycle to the catalogue ((CD) 435 744-2GDO3—to be reviewed next month).'