Robert Layton discussed the Brahms/Gilels concerto recordings last when they were issued separately on LP (10/80 and 4/81—they are also available linked together, similarly at mid-price). In the First he found ''majesty and breadth, poetry and fire, its slow movement possesses a rare depth and inwardness of feeling''; of the Second he declared: ''Gilels and Jochum bring such warmth and humanity to the score as well as a magisterial authority that they carry all before them.'' He made both his first choice among available versions in the present catalogue. I quote these comments as I concur with every word. Moreover, the digital remastering for CD has been entirely beneficial. The overall sound is fresher, the bass resonance very slightly modulated, but the rich Brahmsian textures remain satisfyingly full and the piano timbre is well focused and natural. Both works run for slightly over 51 minutes so one wonders why DG have chosen to add the seven Fantasias, Op. 116 (a further 21 minutes) to the disc including the Second Concerto, but have included no fill-up to the First.
The piano timbre is drier in the solo pieces, but the playing itself is marvellous. This cavil, however, is disarmed by the fact that if o ne were buying these works on CD, all competitors pale beside them. The Ashkenazy versions with Haitink are eminently satisfying and have the advantage of digital sound of fine Decca quality, but it would be Gilels I would take with me for those Desert Island evenings. The Gilels CD on RCA is unacceptable. The piano timbre is hard and the violins are shrill. RCA need to take a second look at the master tape and see if they can improve it in the same way that they have Heifetz's splendid CD of the Violin Concerto (coupled with the Beethoven Concerto—RD85402, 10/85).'