In taking up Clementi's suggestion that he should transcribe the solo part to his Violin Concerto for piano in 1807, Beethoven was surely driven by commercial self-interest rather than creative necessity. Yet in the hand of such a pianist as Berezovsky, the work can sound unexpectedly convincing. Indeed his performance is quite stunning.

The real draw on Berezovsky's disc is his revelatory account of the D major Violin Concerto-turned-Piano Concerto. The beauty of this performance is that it in no way attempts to make the Concerto sound like a 'piano version' of its violin predecessor; but, rather, takes the numerous decorative elements at face value and actually makes the work sound like a full-fledged piano concerto.