[This CD] contains markedly significant historical material that does credit to all the artists involved, especially Bruno Walter. The two concertos played by Myra Hess...

[This CD] contains markedly significant historical material that does credit to all the artists involved, especially Bruno Walter. The two concertos played by Myra Hess (both drawn in two releases from the same, generally good—though cough-ridden—tapes of FM broadcasts of New York Philharmonic concerts) are a study in contrasts. K. 449 (January 17, 1954), if more relaxed and less vibrant than, say, the magnificent Rudolf Serkin-Alexander Schneider collaboration, has an elegance, bubbly buoyancy, touching lyricism, and impish humor found in all too few performances of the work. Listen, for example, to Hess's projection of the finale and discover a pianist who understands the sublimity of Mozartean comedy. On the other hand, K. 466 is rather labored and excessively brooding, in many respects an echo of the studio recording of the work made by Walter in 1936 as pianist and conductor.

-- Mortimer H. Frank, FANFARE [3/1990]