These two CDs must surely have an equal claim on the collector of Mozart piano concertos. They represent some of the best versions of these works we have had in recent years and I would find it pointless to attempt to express a preference. On CD the balances and quality of sound are excellent, though at a given setting it's noticeable the CBS reproduces at a considerably lower level than the DG. The CBS balance, which is impeccably judged, conveys more strongly than the other the 'natural' atmosphere of performances in a concert hall; but I am far from suggesting the DG sounds contrived. As to the playing, one could say that in general Pollini is a shade more open and direct in his projection of the solo part than Perahia, so that there are times when he suggests a greater freshness of feeling: in the first movement of the F major Concerto, for example, where Perahia's perspective seems to be that of a more reflective recollection. And one could, I suppose, add that Pollini is robuster in the finales, more overtly brilliant; yet there Perahia's light and shade, wonderfully controlled, makes him appear the subtler player.
Comments such as these are inadequate to pin down the qualities of two magnificent artists at the top of their form. Perahia's recording is certainly to be counted one of the best in his series of the Mozart concertos.'