These two popular concertos have for many years been coupled on LP and CD, and ever since their initial release in 1971, the performances on this CD have been consistently rated as outstanding. This recording is one of a few to have achieved true classic status, of the stature (amongbrconcerto recordings) of Jacqueline du Pre's Elgar Cello Concerto, and Michelangeli's Ravel G major and Rachmaninov Fourth Piano Concertos.brThe young Stephen Bishop (now known as Stephen Kovacevich) was at the height of his considerable powers, and these performances of two of the best-loved piano concertos have hardly been equalled ever since they were made almost 50 years ago.

Though it`s hardly uncommon for a musician to be performing and recording at age 85, it`s difficult to think of many octogenarian performers who continue to explore new paths. Arrau is the wonderful exception, as his current Beethoven cycle for Philips has indicated time and again. This recording of the first two piano concertos offers further proof, for here Arrau turns in performances that force us to reconsider these works. We may be accustomed to hearing the First Concerto played with lightness and Mozartean elegance, but Arrau goes well beyond this cliche. His account of the first movement has a depth and mystery it is rarely accorded.

The security of Arrau's technique, the continuing fullness of tone and the fine gradations of touch, is nothing less than astonishing. So too is the mature accommodation he has come to with Beethoven's endlessly problematic C minor Concerto. Arrau's earliest recording of the concerto, with Ormandy and the Philadelphia Orchestra in 1947, may have been more brilliant (though, from the orchestra's point of view, more slapdash) but this long-pondered, lovingly evolved reading takes us much closer to the idealizing centre of Beethoven's visionary world; and does so, incidentally, in a way that could not be approached in 1000 years by the authenticity merchants with their pygmy instruments and tedious lists of contemporary metronome markings.

”… However, not only is Davis more in sympathy with Arrau's majestic approach, he's got the incomparable Staatskapelle Dresden backing him up. The result is a Fourth Concerto for the ages: just listen to Arrau's silky-toned opening, the soft hush of the violin section's entrance leading up to the thrilling subsequent crescendo. And the slow movement! Words can't do it justice, nor can they capture the finale's wonderful sense of vigor within repose.”

Arrau's "Emperor" reveals more angst in the first movement development than most other performances, giving the whole work an added depth of feeling. Some listeners may prefer greater general liveliness, especially in the finale, but I find the approach wholly convincing in scale and so beautifully executed as to silence criticism. Technically speaking, these performances always sounded marvelous, and they still do. Unforgettably grand.

Mozart’s “Idomeneo” is a lyrical tragedy and is considered Mozart’s greatest choral opera. It is composed in the baroque tradition of the opera seria; however, Mozart excels at giving it new traits and forms. He also exerted his influence on the dramaturgy, shortened parts to increase their effect, increased the suspense with a dense use of instruments and wrote the marvellous ballet music.

…To my ears she is at her creamy, relaxed best, evincing no strain at all. Her trill is firmly in place, her divisions clean, her tone even through its range and her arcing phrases soar serenely above the stave. This selection encompasses both dreamy, long-breathed arias and impassioned pyrotechnics…

Elgar’s Violin Concerto has a certain mystique about it independent of the knee-jerk obeisance it has received in the British press. It probably is the longest and most difficult of all Romantic violin concertos, requiring not just great technical facility but great concentration from the soloist and a real partnership of equals with the orchestra. And like all of Elgar’s large orchestral works, it is extremely episodic in construction and liable to fall apart if not handled with a compelling sense of the long line. In reviewing the score while listening to this excellent performance, I was struck by just how fussy Elgar’s indications often are: the constant accelerandos and ritards, and the minute (and impractical) dynamic indications that ask more questions than they sometimes answer. No version, least of all the composer’s own, even attempts to realize them all: it would be impossible without italicizing and sectionalizing the work to death.

Tout le monde devrait connaitre certaines oeuvres classiques. Les requiems de Mozart ou de de Saint Sens en font parti, à mes yeux.

Along with Mackerras' EMI recording, which appeared at the same time (1966/67), Davis' Messiah established the standard for properly scaled, tastefully ornamented renditions using modern instruments. Like all classic recordings, the musical values embodied on these two well-filled discs haven't diminished a bit. You can still enjoy Davis' lively and sympathetic direction, enthusiastic singing and playing by the London Symphony Orchestra and Chorus, two fabulous female soloists, and though the men are a bit less distinguished, they certainly don't drag the standards down to any significant degree.