Like the two Mozart concertos I reviewed in November 1984 (Philips 412 254-2PH), these are among Clara Haskil's last recordings, made shortly before her lamented death in December 1960. Her pre-eminence as a Mozart interpreter of the utmost sensitivity has caused people to forget that she was also outstanding in other areas of the repertoire; as a pupil of Cortot (himself taught by one of Chopin's disciples) she had, for example, particular insight into Chopin style, as becomes evident in this recording of her one-time teacher's arrangement of the Second Piano Concerto (in which the excessively long initial tutti is shortened, bassoon lines are sometimes strengthened, and occasional woodwind phrases are added). More beautiful playing of the Larghetto could scarcely be imagined: in her hands this rapturous movement is quite magical. While producing brilliance when it is called for, there is always refinement, and she imparts a tinge of wistfulness to the finale to make this a reading of memorable character. She is sympathetically accompanied by Markevich, though the piano is just a little too forward in sound.
This is noticeable also in the Falla, especially at the sordamente passage in the ''Danza lejana''; but Haskil's subtleties of touch and tone, and her limpid clarity in the representation of the cool splashing of the Generalife fountains, are such as to make one forget such slight imbalances by the engineers. This welcome CD revival of two fine performances which can truly be called classics is remarkably satisfying, though the rather blatant trumpets make fortissimos a bit trenchant. Those who never heard Haskil or who do not possess the original 1960 LP should emphatically not miss this.'