While highly regarded in some critical circles (particularly in England) as a reference edition for these two works, this coupling has not held up terribly well over the years. The problem is simple: lack of energy. Stephen Kovacevich tends to keep his contribution all on one dynamically restricted level. This makes for some touching moments in the slow movements of both concertos, and for an occasionally appealing interplay between orchestral and keyboard soloists, but adds up to boredom elsewhere. Listen, for example, to the lack of spring Kovacevich brings to the dance rhythms of the Grieg finale (compared to, say, Michelangeli, Lupu, or Andsnes) and to the terminal absence of grandeur in the closing pages (Arrau’s in his element there). Part of the problem stems from the pianist’s fondness for tapered phrases and soft endings at the close of major sections, as happens just before the famous “deux temps” second subject of Schumann’s finale. Colin Davis also deserves blame for his own contribution to the dull general impression. What a flat-footed experience he makes of the flowing transitional passage that follows the presentation of the principal theme in the Schumann concerto’s first movement! Excellent remastering and realistic balances between piano and orchestra can’t compensate for the lack of sheer adrenaline.
