The First Concerto is a total success here; Midori's silken tones caress the Andante sostenuto, and both she and Mehta are very outgoing in the Allegro giocoso. Once again, a longest-ever timing implies great contrasts rather than just a slow performance. The First Concerto was recorded in February 1989, in the Philharmonie, Berlin; it has a full, lovely sound. The same engineering team was less successful there a year later; the Second Concerto does not sound as free and open—it is a bit cold and tight. There is an unfortuante splice at 3:17 of the opening movement (track three), which cuts into a phrase and has the soloist playing louder after than before; if it is an interpretive decision, it is even odder. As I said above, recommended, but with much qualification.
