On two previous SACDs, Sudbin and Vänskä have already tackled Beethoven's last three piano concertos with great success. For the two remaining concertos they have teamed up with the Tapiola Sinfonietta, one of Scandinavia's leading ensembles and very well disposed for these concertos, which are even more faithful to the principles of early Viennese classical music. After all, Beethoven began work on the 2nd Concerto while still in Bonn, seven years before the 1st Concerto was finished. During the next ten years, the composer took the manuscript again and again and revised it fundamentally up to the composition of a new final movement, and thus the C major concerto first reached publication maturity. Both concertos were written long before Beethoven tackled the symphonic genre, and the influence of Mozart and Haydn is still evident here in the interaction between soloist and orchestra. And yet the typical characteristics of Beethoven's style are already recognizable.