Frank Peter Zimmermann’s new coupling of the Szymanowski concertos enters what is fast becoming a highly competitive field. Fortunately, even by the side of such distinguished rivals as the Gramophone Award-winning Thomas Zehetmair and Kaja Danczowska, these urgently expressive, cogent and polished performances more than hold their own. Backed by a notably willing Warsaw Philharmonic under Antoni Wit’s watchful lead, Zimmermann plays with flawless technique, ravishing poise and subtle range of colour. These are readings of strong personality, gutsy temperament and full-throated ardour. The captivating First Concerto is as passionate, sensuous and poetic as one could wish, and Wit conducts with even greater freedom and insight than on his admirable Naxos recording with Ilya Kaler (7/07). Zimmermann displays a comparable empathy for the altogether earthier Second Concerto, comprehensively attuned to the ruddy vigour, yearning lyricism and raw emotion of this exhilarating score (inspired, like Szymanowski’s marvellous ballet Harnasie, by the tangy folk music of the Polish highlands). Biggest climaxes bring a hint of glare; otherwise, the solo balance is most cannily judged.

The Britten is scarcely less impressive, at just under half an hour the swiftest rendering to have come my way since Ida Haendel’s outstanding 1977 version with Berglund and the Bournemouth SO (EMI, 5/78^R) – and, it must be said, more convincingly held together than existing interpretations from Mordkovitch and Vengerov. Once again, Zimmermann is fortunate indeed in receiving such sympathetic support as that provided by Manfred Honeck and the Swedish RSO. I appreciate the purposeful tread of the opening Moderato (Britten’s qualifying con moto marking observed to beneficial effect), as well as the bracing momentum and rhythmic snap these fine artists impart to the fiery Scherzo. Zimmermann’s involving treatment of the cadenza leads to a deeply eloquent account of the concluding passacaglia, which contains some of Britten’s most plangent inspiration. The full-bodied sound here gives little cause for complaint. All told, an absorbing and thoroughly commendable release.