This 
                      is a lovely programme. The Schubert pot-pourri acts as the 
                      perfect bridge between the worlds of Beethoven and Rachmaninov.
                    The 
                      1946 sound for the Beethoven makes the orchestra sound very 
                      thin, yet once Kapell enters all is forgiven. There is a 
                      real energy to his playing, coupled with the fact that the 
                      score seems to pose none of the usual obstacles for him. 
                      His fingers regularly perform miracles, as if the concerto 
                      was actually written for him. However, if there is anything 
                      missing it is a sense of play, of sheer enjoyment of life. 
                      
                    Modern 
                      listeners may find the slow movement rather 'old-style' 
                      - read self-indulgent - from the orchestra, yet Kapell plays 
                      with a great unaffected simplicity. If there is a disappointment 
                      (slight) it is the finale, happy if not overly dynamic. 
                      Yet even here cascades of semiquavers sparkle like crystal.
                    The 
                      separately-tracked Schubert items, in a rather intimate 
                      recording, are a continuous delight. The minor-key items 
                      have just the right mount of nostalgic weight whereas the 
                      first of the two B flat major German Dances is positively 
                      Lederhosen-conjuring.
                    Finally, 
                      Rachmaninov's Cello Sonata with Efrem Kurtz. Kapell is revealed 
                      as an accompanist par excellence, happy to be in the background 
                      when appropriate. The two players exhibit a real grasp of 
                      the first movement's structure. Perhaps Kurtz is a little 
                      anonymous as soloist. He is much better in the Allegro scherzando 
                      second movement. His cello sound as caught here is plummy 
                      without undue over-emphasis on the low frequencies. There 
                      are moments of great beauty here, too. In fact it is this 
                      very awareness of the nature of musical beauty that informs 
                      the Andante, which flows perfectly. Especially noteworthy 
                      is the wealth of keyboard sonority that Kapell finds. The 
                      finale is quite a varied journey that both players clearly 
                      enjoy.
                    A 
                      highly enjoyable disc, thoroughly recommended. All credit 
                      to Mark Obert-Thorn in his transfers - the Beethoven and 
                      Schubert from LP, the Rachmaninov from a set of 45s.
                    Colin Clarke
                    see also Review 
                      by Christopher Howell