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Boris Giltburg has swept up numerous awards for his Liszt recordings, but one of his first releases for Naxos was of piano sonatas by Beethoven. It certainly made an impact on the critics: ‘ ... a powerful mix of astounding technique, gripping drama, and interpretive insight. … This is great pianism and great Beethoven playing at its very best.’ (Fanfare) That's a perfect introduction to his next foray into Beethoven via the composer's first two piano concertos, with their abundance of lyric and virtuosic qualities. Add to this the names of conductor Vasily Petrenko and the Royal Liverpool Philharmonic, who astounded everyone with their world-beating Naxos edition of Shostakovich's symphonies, and we really do have a treat of the month. Beethoven’s first two piano concertos share an abundance of lyric and virtuosic qualities. Concerto No. 1 in C major is expansive and richly orchestrated with a sublime slow movement that is tender and ardent, and a finale full of inventive humour. Concerto No. 2 in B flat major marries energy with elegance, reserving poetic breadth for its slow movement and quirky wit for the finale. Also included is the jovial Rondo, WoO 6, which Beethoven originally intended to be the finale of Concerto No. 2.