Haochen Zhang pf Philadelphia Orchestra / Nathalie Stutzmann

BIS 

Despite being the first Chinese pianist to be awarded the gold medal at the Cliburn Competition (in 2009) and one of the youngest first-prize winners, Haochen Zhang's progress into the recording studio has been remarkably slow. This is only his third commercial release since his debut album in 2017.

Nathalie Stutzmann may be more familiar as a contralto soloist, but she has made the transition on to the conductor's podium successfully and marshals the Philadelphia players with assurance. Tempi throughout all the concertos tend towards the expansive, especially in the opening and central movements.

This approach does not really work in the first two concertos: the outset of No 1, for example, is less con brio than it should be, and the choice of Beethoven's third and longest cadenza does not quite come off. The finales of the first two rattle along nicely which makes the fitful impulsion in their opening movements all the more regrettable.

The more symphonic later concertos fare better, with Zhang and Stutzmann surer in pulse and securing more convincing, impactful interpretations. The Fourth, opening quietly on the piano, builds into an outstanding performance. Zhang seems equally at home in the intimate, gentler aspects of this remarkable work as in its wilder, grander moments – a good example being the Andante con moto, where he calms the brusque orchestra with playing of wonderful poetry. The Fifth follows on where the sparkling Vivace finale leaves off, though with more emphasis on the grandiose.

As usual with BIS, production values are first-rate, the sound is spectacular and the performances never less than interesting.