The recording of the Grieg Concerto is circa 1956, but the quality is remarkably good, with plenty of presence and life. Rubinstein conveys a sense of enjoyment in his playing, almost as if he was rediscovering the work anew, and the performance has an engaging freshness. What a good accompanist Wallenstein was: here as ever he provides sympathetic and loyal support and secures good orchestral playing from what was in all probability a 'pick-up' group. The Tchaikovsky Concerto was recorded in the early 1960s and although it has the benefit of the familiar spacious Boston acoustic the quality seems more dated than on the earlier recording. In this work Rubinstein eschews a barnstorming approach and puts his immaculate technique at the service of an unfailingly sensitive and refined approach to the familiar score, thereby providing for the listener a sense of rediscovery and renewed enjoyment in a familiar work. Leinsdorf and his orchestra match Rubinstein's conception diligently. This is a well-filled disc.'