If anyone is disconcerted by the idea of having a Chopin concerto played on an 1851 Erard piano, then let it be emphasized that the piano sound here is satisfyingly full, with none of the twang one associates with fortepianos. While relishing the extra clarity of focus in the period instruments of the OAE, one can simply enjoy exceptionally refreshing performances, without ever being distracted by archaic sound, always helped by forwardly balanced, cleanly focused recording.
The freshness is established in the concerto’s opening tutti, with Sir Charles Mackerras drawing crisp, bright sounds from the OAE. Inevitably there is a rather more limited dynamic range in the piano sound than with a modern Steinway, and Ax in his earlier Philadelphia recording is at times more poetic in his pianissimos, but the freshness and spontaneity of Ax’s playing on his London Erard, with winningly fluid rubato, are if anything even more magnetic than before.
So the second subject in the first movement (track 1, 4'45'') arrives at a healthy mezzo-forte rather than a pianissimo, but then I note that in the score there is no piano marking, even though the Paderewski edition adds one editorially. So, too, on the piano entry in the central Larghetto. What matters is that Ax’s approach is not just fresher but more spontaneous-sounding than previously, suggesting a recording done in long takes. The finale, a shade brisker than before, is delectably pointed, and Mackerras reinforces that in such passages as the col legno tapping from the violins, which establishes the rhythm of the polonaise-like second subject.
The two shorter, more trivial works are equally made the more winning by this freshness of approach, with the Polonaise theme wittily pointed. In some ways best of all through being more unexpected is the delectable performance of the Fantasia on Polish Airs. Such a moment as the entry of the 6/8 second theme (track 4, 3'56'') has one catching one’s breath, for Ax’s playing exactly reflects the marking dolce e semplice. Consistently he brings out the innocent charm of this folk-based work of an 18-year-old, where others tend to be heavier in their treatment, even Rubinstein and Arrau. Having just one of the two concertos coupled with shorter concertante pieces suggests that this welcome issue is to be followed by a companion disc with the First Concerto plus the Krakowiak and La ci darem la mano Variations. I certainly hope so.'