Never for a moment does she over-reach herself or force pace and sonority...Few pianists have ever been more true to their own lights and it is hardly surprising that her many performances of this concerto in London and elsewhere have become the stuff of legends...It is my dearest wish that this will become a complete cycle.

the present performances are beautiful … immaculate fingerwork, crystalline sonority and natural, instinctive musicianship … the recorded sound is both clear and warm, which suits these performances very well … Collectors who love these two concertos can never have too many versions of them, so this release should certainly be added.

Pires’ fingers caress the keys gently in the first movement [of No. 4] and dance over them playfully in the finale, turning her style to suit every phrase and mood...This disc was both exhilarating and enlightening to listen to. Let’s hope there is more on the way.

Surprisingly, Pires’s beautifully clear singing tone and exemplary articulation, in this set, seem to suit the fiery C minor better than the lyrical G major...the playing of the Swedes is characteristically vivid and sensitive.

the Swedish orchestra’s strength, subtlety and sonority establish a good foundation and foil for Pires’s performances here. That wonderfully rounded, opalescent tone that her touch invariably produces is coupled with the insight, poetic sensibility and discreet life-giving force that come from years of experience.

she’s recording the third and fourth piano concertos for the first time — and playing them with such unaffected simplicity that you always feel the notes speaking, never the pianist herself. Turbulent emotions, grandiose gestures and winking gaiety arrive as they should, yet nothing is pushed to extremes.

Pires’ first disc for Onyx is something very special. This is playing of great poise and depth...Harding coaxes lithe, transparent playing from his Swedish colleagues - there’s an almost ‘period’ feel.