Here on three CDs are Solomon's legendary 1952-6 recordings of the Beethoven piano concertos and two Mozart piano sonatas, a felicitous coupling. 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.

In the Third Concerto the Largo is impeccably controlled and so, too, is the central Andante con moto from the Fourth Concerto.
Solomon's momentary lack of control in the first movement at 9'37" is, perhaps, an indication of problems caused by Cluytens' less than vital or stimulating partnership. And yet the finale could hardly be more vivace, with all the clarity and grace for which Solomon was celebrated.
The recordings come up well (though the sound in the Fifth needs some opening out; it lacks ring and brilliance), and the Mozart sonatas are a delectable bonus. Listening to Solomon's peerless pianism and musicianship, the critic discards pen and paper and listens in awe, wonder and affection.

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.