The slow movement of the G major Concerto looks on the surface as though it might carry the sort of warning I once saw on the slow movement of another G major Concerto‚ by Beethoven‚ to the effect that it ‘should be attempted only by pianists of great sensitivity’. But then all pianists know they’re sensitive. Anyway the problem with the Ravel movement is that it encourages sensitivity of the wrong sort. Achœcarro nails his colours to the mast with a huge rubato on the first bar line‚ signalling ‘Tune coming‚ please stand back from the edge of the platform’‚ and thereafter goes on to disturb the passage’s equilibrium with little flurries of accelerando and even with an extra quaver beat in bar 15. No one is suggesting that this opening page should be facelessly metronomic‚ but rhythmic deformations should be slight and justified by the harmonies (as in the recording Marguerite Long made in the composer’s presence; EMI‚ 12/96R). Unfortunately the rest of the movement also lacks rhythmic purpose. The unusual demands of this Adagio are only highlighted by the accomplished‚ accurate and exciting playing elsewhere on this disc. Even if the pianist is not always willing to play quietly when asked – and certainly one contribution in the Left­hand Concerto (7'17" onwards) distorts the argument – he does have the requisite power for this work‚ as he has fleetness for its com­panion. I was glad‚ too‚ to hear two textual emendations to the printed score: he plays As instead of the horrid F sharps at fig 51‚ just before the orchestra join the cadenza of the Left­hand Concerto (even if the As aren’t at the pitch Ravel wanted!)‚ and in the cadenza of its companion he provides a filling in of the chromatic trills in the right hand – according to Milhaud‚ Ravel’s rendering of a musical saw. The orchestra throughout the disc is prompt and lively‚ and for once you can hear at the very beginning of the Left­hand Concerto what the double bassoon notes are. Their very best playing comes in Alborada‚ of a dry‚ nervous‚ springy humour‚ all muscle and no fat. You feel the orchestra is on home ground here‚ even if the superb bassoonist (rightly credited in the insert notes for his solo) is one Jaros¹aw Augustyniak.