Mendelssohn's two solo piano concertos deserve more frequent airing in the concert hall, as the late Rudolf Serkin's splendid performances should remind programmers. The recordings are now elderly, and show this in such places as the finale of No. 1, where the brass blares rather harshly; and at the start of the work, the impetuosity is too much for clarity of fingerwork. But this is far less important than the magnificent vitality of the start—it really is a fiery Allegro, con fuoco, as Mendelssohn asks—balanced by the transition to the second subject as Ormandy lovingly pulls the music back to prepare for Serkin's re-entry. This is superb music-making. The latter plays both slow movements with an affection that has no suggestion of sentimentality, so immediately does he believe in the music; and this it is which enables him to make so much of the soft opening of the Capriccio brillant, and of the two little pieces thrown in at the end. Mailufte, or ''May breezes'' is charming; the Spinnerlied, known to generations in this country as ''The bees' wedding'', has been played with greater delicacy, but perhaps Serkin is resolved to underline the piece as a virtuoso scherzo, which it is.
There is less of a case for revival of the two-piano concertos, though it is good to have them included here, and in such admirable performances. Gold and Fizdale produce a furious energy at the start of the E major work, and respond sensitively to Mendelssohn's clever use of the double piano medium in the finale. Both slow movements are warmly and sensitively played, and the recording does well in clarifying the separation between the two pianos. As a bonne bouche, there is a brilliant, exquisitely judged performance of the E minor Scherzo from Philippe Entremont. This also serves to bring the pair of records up to ''over two hours'', as claimed—by 1 minute 25 seconds.'