Time and again Beethoven's exuberant, unpredictable nature is qualified by playing of a supreme poise and equanimity that omits so little of his essential character. It's also one of Solomon's cardinal qualities that he makes it impertinent to single out this or that detail, offering instead a seamless argument as supple and natural as it's understated.
Solomon makes the slow movements the expressive centres of each concerto, and here his ability to sustain an Adagio or Largo is without equal. This is notably true of the first two concertos, where such writing becomes music to soothe the savage breast rather than awake more immediate emotions. In the outer movements his superfine technique and musicianship make light of every difficulty, and at 6'55" in the Second Concerto, after an impatient if very Beethovenian entry, he re-creates a magical sense of stillness and repose.

Solomon's performances celebrate a dedication to musical truth and a timeless purity that place him among the keyboard giants. This is great Beethoven playing.