Larrocha's way with Rachmaninov 3 is studiedly 
          poetic and leisurely - Florestan rather than Eusebius. Rachmaninov is 
          left sounding closer than ever to Medtner. Larrocha also brings 
          the concerto closer to Schumann than to the moody, unsettling, subversive 
          restlessness we usually associate with this composer and this concerto. 
        
 
        
Certainly there are isolated flourishes and slashes 
          of virtuosity but the dominant hallmark is one of musing reflection. 
          Larrocha creates world enough and time to allow the music an evolutionary 
          effluorescence. The sound colludes in this approach - velvety and warm. 
        
 
        
Whatever the virtues, ultimately this comes across 
          as eccentric, as a dissection in the aural equivalent of slow motion 
          photography. The finale still warms the blood and you are conscious 
          of the orchestra, that was very much Previn's, playing with a possessed 
          pathos. As ever with such extremes, one learns new things about well-beloved 
          works, but this version belongs in the unhurried and extremely idiosyncratic 
          company of Ida Haendel's Elgar Violin Concerto (Testament) and Bernstein's 
          Elgar Enigma (DG). For first choices go for Earl Wild on Chandos 
          and Argerich's classic account on Philips. 
        
 
        
If you need a holiday from larger than life Slavonic 
          temperament this could well be for you and in the finale Larrocha has 
          you won over. I loved her way (and Previn's) with the pay-off climactic 
          episodes in the last few minutes of the concerto. 
        
 
        
The First Concerto sounds a shade boxier than 
          the de Larrocha tape. Boult keeps things moving along nicely and his 
          climaxes are tense and nervy - as tetchy as his impressive Sibelius 
          tone poems on Everest (Omega). Katin makes less of the andante than 
          Wild but he otherwise gives a sound and often exciting twist to the 
          music. The rasping brass are extremely well rendered in the finale. 
          This is more of a mainstream approach than the Larrocha. 
        
 
        
This is a worthwhile super-bargain pairing of a highly 
          personal peripheral reading of the Third and a sturdy mainstream version 
          of the Tchaikovskian First. 
        
 
        
        
Rob Barnett