These are most attractive performances. Pascal Devoyon is a thoughtful artist who unfailingly conveys the essential poetry of the music, as his first entry in the Schumann (which is played first) demonstrates, although he offers plenty of virtuoso sparkle and display, too, when they are called for. Tempos are pleasantly flexible, and Jerzy Maksymiuk and the London Philharmonic Orchestra are admirably attentive partners to the pianist. Just occasionally I wondered whether dwelling on certain details made its expressive effect at too much cost to the overall momentum and shape; for obvious reasons this applies more to the quicker outer movements, but on the whole the style works well and in the case of these familiar war-horses it is a pleasure to hear playing that seems so spontaneous and non-routine.
The balance between soloist and orchestra is very natural, although some listeners may wish the piano to have been placed a little more forward. As it is, one hears the solo instrument as a first among equals rather than a spotlit star. In my view this suits both these works well and the Schumann especially, with the gentle dialogue of its central Intermezzo being most persuasive. The recording has a pleasing sound, being clear yet atmospheric, with Devoyon's fine tone and tonal range admirably captured.
The famous account of these two concertos by Stephen Bishop-Kovacevich with Sir Colin Davis and the BBC Symphony Orchestra (Philips) is exceptionally refined yet of great freshness; indeed some would call it the finest of all. It still sounds well 20 years after it was made, but unfortunately it comes at full price. At mid-price, Radu Lupu, Andre Previn and the LSO (Decca), recorded in 1973, are stylish, too, if not so ultra-sensitive. But this new and beautifully recorded issue from EMI Eminence need fear no competition: coming, as it does, at bargain price, it represents excellent value, and I would have said the same even if it had cost more.'