Helmchen really brings out the different approaches Beethoven took in these concertos. A sturdy, reliable recording of two great works.

Helmchen applies himself to the solo part with flair, flexibility, sensitive phrasing, and a nice control of moods. Almost as important in the final outcome, however, is Andrew Manze’s conducting, which mirrors the piano very closely. It’s rare to hear pianist and conductor so sympathetically aligned.

Theirs is to all appearances a straight-down-the-middle approach. Yet it does stand high and proud for its artistry, poetry, stylish musicianship and, perhaps above all, rapport between soloist and conductor. This really does feel like a meeting of minds.

Helmchen’s sense of colour is abundantly present in his performance of the Emperor, an account noteworthy for its responsiveness to Beethoven’s structural adventurousness. The musicians revel in Beethoven’s transcending of expectations; Helmchen’s technique is more than equal to Beethoven’s trickiest demands. The performers capture the essence of the central movement without recourse to extremes of tempo, and the finale is particularly wide-ranging. These are excellent performances – the interpretative gold is undeniable.