Whether or not these three iconic 20th-century piano-orchestral masterpieces have previously appeared together on a single CD, it’s a wonderful idea to do so. In an era of increasingly fussy and indulgent Ravel G major Concerto performances, the direct, forthright and classically orientated approach that pianist Francesco Piemontesi and conductor Jonathan Nott favour in the first two movements refreshes. There’s no dawdling over the first movement’s second theme, while the Adagio assai’s firm and animated basic pulse helps to sustain the first-desk woodwind players’ long lines over the pianist’s decorative accompaniment. Energy somewhat flags in the finale, which falls short of the contrasted dynamics and incisive articulation that keep listeners on edge throughout the classic Michelangeli/Gracis (Warner), François/Cluytens (Erato) and Argerich/Abbado (DG) recordings.

By contrast, the colourful building blocks encompassing Messiaen’s Oiseaux exotiques vividly sparkle and interact (the rapid piano, brass and percussion exchanges beginning around 5'20" into the work). The judicious balance between piano and ensemble certainly helps, together with more palpable tam-tam presence. Some may prefer the driving brilliance and faster tempos of the Thibaudet/Chailly recording (DG) or the menacing detail of Donohoe/de Leeuw (Chandos, 1/95) but it’s obvious that Piemontesi and Nott navigate Messiaen’s complex aviary with total authority.

If the classic Alfred Brendel recordings of the Schoenberg Concerto (be it the warmer DG Kubelík or beefier Philips Gielen versions) are symphonic in nature, Piemontesi and Nott are decidedly balletic. You can really waltz to the opening Andante via the pianist’s liltingly inflected solo work and the songful yet never gushing string phrasing. The piano and orchestra breathe as a single choreographic entity in the brief Molto allegro, in contrast to Pollini and Abbado (DG, 7/90) rigidly hammering every musical nail and widget in place. As much as I appreciate the Adagio’s fluidity and transparency here, I still contend that the slower Peter Serkin/Seiji Ozawa/Chicago Symphony interpretation (RCA, 3/70) reveals more of the music’s lyrical underside and expressive potential. For all of the Giocoso finale’s superb ensemble synergy and conversational repartee, I miss the tonal heft and roof-tearing climaxes of the live Emanuel Ax/Alan Gilbert/New York Philharmonic recording. As usual, Nigel Simeone’s booklet notes inform as much as they gently provoke.