Objectively, I find them “ideal”—i.e., as near to perfect in matters of execution and faithfulness to the written notes as is humanly possible. And subjectively, I find them “ideal” as well—i.e., I respond positively on a personal level to what Giltburg and Petrenko bring to their readings...This may just be Giltburg’s best recorded effort to date.

In most respects these are distinguished readings. Sonically speaking, the judicious balance between piano and orchestra conveys a palpable chamber-like aesthetic that brings important woodwind details to the fore...This can also be attributed to Vasily Petrenko’s penchant for lean, transparent textures, rhythmic spring and regimented ensemble values...Giltburg’s polished and cultivated pianism shines in the crystalline scales of the First Concerto’s Allegro.

There is much to admire about these performances of the first two concertos, particularly as the RLPO are in such fine, lean form under Petrenko. The central Largo of the First Concerto is laudably taken at a tempo that moves, and Giltburg is at his most eloquent (as is a fine clarinettist). The orchestra’s contribution to the finale is vital and alive, both pianist and orchestra paying great attention to detail, especially those rhythmically destabilising accents.

I would rank these new accounts of the concertos by Giltburg a very high priority, for not only do you get performances to rank with the best, but also the bonus of the splendidly played Rondo.

With his incisive rhythms and muscular left hand, the Israeli pianist gives vivacious performances, vividly accompanied by Vasily Petrenko and his players, and adds as a bonus Beethoven’s earlier version of No 2’s finale.