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Alan Becker
American Record Guide, July 2016

…Navarro and De Larrocha are well able to contribute competitively. …the catalog is overflowing with decent performances. © 2016 American Record Guide Read complete review on American Record Guide



Jim Svejda
Fanfare, July 2016

[Larrocha’s] reading of the darkest of the Beethoven concertos is poised and meticulously executed, with little left to chance. Yet far from seeming calculated, the playing has a hushed intensity and brooding power, heard to particular advantage in the turbulent central plateau of the opening movement and in the grinding struggle of the finale. Yet through it all there’s an elegance that keeps reminding us that this is a composer with one foot firmly planted in Mozart’s century, with the Heaven-storming Beethoven of the following decade still several years away. Bour’s accompaniment is alternately sensitive and dramatic as the moment demands, with the restored late-1970s recorded sound coming up with surprising depth and vividness. © 2016 Fanfare Read complete review



Rob Cowan
Gramophone, April 2016

Larrocha is a most eloquent commentator, especially as the music ultimately seeks relief by shifting into the major. García Navarro and the Stuttgart RSO provide sympathetic support, whereas it falls to the SWR SO of Baden-Baden and Freiburg under Ernest Bour to provide a subtly darkened orchestral context for Beethoven’s Concerto No 3. Larrocha offers an immaculately turned, fairly intimate reading, profoundly musical at every juncture. Best are the central Largo, which sings sublimely, and the finale, played with an elegance that borders on sounding Mozartian. The stereo sound is excellent. © 2016 Gramophone Read complete review on Gramophone




Norbert Tischer
Pizzicato, March 2016

Vivid and energetic performances of Mozart’s K 482—a concerto that here clearly moves in the direction of Beethoven—and of the latter’s Third. The slow movements yet are very poetic. © 2016 Pizzicato





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