From the first phrases of the orchestral exposition to the first movement of Mozart's Two Piano Concerto, it is clear that this is a strongly characterized version, and the entry of the Labeque sisters confirms the initial impression; it is not inflexible rhythmically and one feels that the music has some time to breathe, but by the time the orchestra re-enters we are once again being moved along briskly and there is a sense of overall urgency. Add to this the facts that the pianos are very much modern grands and that this Berlin Philharmonic Orchestra sounds big-bodied, and we are inevitably in a performance style that may now sound old-fashioned and over-projected to collectors used to something more intimate and relaxed. The first-movement cadenza will do nothing to change this view, and those same collectors could also feel that in forte the pianos are being pounded in a way that is un-Mozartian.
I suppose I have implied that this is my feeling too—as it is. Even in the lyrical Andante, the dominant trill in the first piano entry sounds more athletic than ornamental. Still, there is purpose and skill here and no doubt this big-boned approach has its own kind of appeal—with this kind of force, accuracy and stamina, you feel the Labeque sisters could win the musical equivalent of a ladies' doubles at Wimbledon. Predictably, the finale whizzes along in a style demanding everything but sensitivity and a sense that the music is loved.
After this, it is with relief that I turn to the spacious, thoughtful and affectionate Gilels pere et fille on DG and to the sensitive Brendel and Cooper on Philips, although it should be said that other listeners may feel differently. The Ashkenazy/Barenboim account for Decca is mannered, but still preferable to this one; the celebrated Gilels/Bohm/VPO still seems to me to outclass the opposition by various distances, in this case long.
The Triple Concerto here has the same qualities, and Semyon Bychkov is a sure third pianist while keeping control of his orchestra, but ensemble is not ideal in the Adagio and the sense of tension generated by the performers throughout Mozart's radiant music leaves me little room for enjoyment.'