Years ago these two were the regular in-house players for Sony’s classical repertoire, with the odd foray backwards to Bach (both recorded the ‘Italian’ Concerto) or forwards to Bartók (the First Concerto with Serkin and Szell, the Sonata for two pianos and percussion with Robert and Gaby Casadesus). The principal difference between the two sets, discographically speaking, is that while Sony include absolutely everything that Serkin recorded for Sony (not least, in terms of concertos, four Brahms B flats and four Beethoven G majors), Scribendum select just one version of a particular work – the Ravel Concerto for the left hand being a fair case in points, also Beethoven violin sonatas with Zino Francescatti. Then again they also include material that isn’t part of Sony’s legacy, including a magnificent French Brahms B flat under Carl Schuricht, complete with wobbly opening horn solo and some ham-fisted chords – but the power of it, the cutting staccatos, expressive flexibility (from both pianist and conductor), the epic sweep of the performance: wonderful! Serkin with Eugene Ormandy (they collaborate on no less than three recordings of the work) is scarcely less imposing, especially the version from 1956. Stylistically, Serkin’s your man for subtle asides, even though occasionally prone to coarseness while Casadesus favours crisp articulation, that crispness sometimes suggestive of a frosty ‘edge’, and a propulsive rhythmic attack. Comparing the two in various Mozart concertos spins a telling tale. I’d value any comments here on the board.