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Here we have his 1936 recording of the Pathétique, with the central Adagio markedly broader and more heavily pointed than in the mono LP version of 20 years later. John Ogdon’s account has a splendidly withdrawn feeling at this point and a raptness and tranquillity that I greatly admire. When they rose to sing, surveillance cameras projected video images of them in triplicate. Like Toscanini, Erich Kleiber, and others before him, Norrington achieves this not by the imposition on the music of some world view but by taking up its immediate intellectual and physical challenges. However, Karajan's 1962 Berlin performance (from the DG set already mentioned) is even quicker and superior in articulation, Norrington plays the Eighth Symphony's third movement as a quick dance and makes excellent sense of crotchet = 126, a marking often regarded as being beyond the pale. Either way‚ Toscanini is a near­-impossible act to follow.

“I was a woman once,” she sings; “I lived as women live/I felt as women feel.” Mr. Lang rescues these lines (and others throughout the opera that skirt platitude) through the hazy beauty and relentless drive of his music. (Pollini, on DG, strikes me as being too obviously masterful; Brendel, on Philips, less so.)

Gulda was always at his best in the last three sonatas but his Decca Hammerklavier, for all its trimness and brilliance, rarely matches this one for impact, while the later Diabelli, although hugely energetic where needs be, is less relentless than Gulda’s airless later recording which made a brief appearance here on a Harmonia Mundi CD. The works Norrington has selected to launch this projected Beethoven cycle are, it must be said, shrewdly chosen. More seriously, he lacks real control of his band. The second and last movements have a Furtwänglerlike breadth, though such is Fischer’s mastery of ease within motion and motion within repose, there is nothing here that is long-drawn. The reading is weighty but graceful, with a most beautifully phrased Andante (worthy of a Furtwängler), a bold Minuet and a thrilling finale. Fischer’s approach to the Pastoral is quite different from his approach to the Fourth. He didn’t have a fat record catalogue full of Rostrum Greats to live up to and he wasn’t under pressure to say something new‚ or at least something different. Iván Fischer’s direction is in the Toscanini class in its clarity and verve.

Richard Osborne (January 2011), Vienna Philharmonic Orchestra / Carlos Kleiber. For openers, they had access to the new Henle Edition and have made use of some textual changes (an E replacing a G at 8’13” in the first movement of Op 132, for example) – nothing too drastic but encouraging evidence of a good musical conscience. There is, though, nothing effete about the totality of Gilels's reading.

The qualities that made the previous instalments so compelling are here too: the naturalness with which piano and orchestra meld and converse and, at times, tussle; the airiness of the textures; the subtlety of the details. So how does this one stack up? Sein Tipp: Denke wie ein Mönch. Auftakt des Jubiläums wird der 16. And the Mahler CO’s timpanist adds to the buoyancy of effect but again subtlety is the watchword. That said, Norrington strives to get as near to the metronome as is humanly possible consistent with instrumental clarity. Ibragimova and Tiberghien don’t attempt anything so extreme but their playing has a powerful sense of progress through the series of modulations, born, I imagine, out of the intensity of live performance. Pollini’s account is simply staggering, for if there are incidental details which are more tellingly illuminated by other masters, no performance is more perfect than this new version. It takes a major pianist standing outside the Viennese tradition to see the volatile and ageing Beethoven subsuming gamesome Classical ironies in Romantic pathos and a feeling of personal travail. Well, why not? For the recorded sound, there’s nothing that can be done about the occasional patch of wow or discoloration but, in general, the old recordings come up very freshly.

Isserlis has the theme but Levin is no mere accompanist, fastidious in his role as a partner yet one who never overwhelms the cello, even in the chords and roulades during a brief spell of agitation towards the end of this introduction. Few pianists have ever been more true to their own lights and it is hardly surprising that her many performances of this concerto in London and elsewhere have become the stuff of legends ... Murray Perahia pf Concertgebouw Orchestra / Bernard Haitink. The search for lyric release is something which Gilels seems particularly to stress.

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