For pianist Yevgeny Sudbin and conductor Osmo Vänskä it’s playfulness that prevails in the outer movements [of the Second Concerto]…Sudbin’s cadenzas are highlights: hints of jazz harmonies and... — BBC Music Magazine, June 2017

It is impossible to hold back from admiration for Sudbin in whatever he plays, thanks to his brilliance and hallmark exuberance. He has much to say and he wants us to listen...Carl Czerny remarked that [Beethoven] ‘brings out difficulties and effects on the piano that we could never have imagined’. Yevgeny Sudbin at his best is an artist capable of reminding us of that and there is plentiful evidence in these rondo finales - Gramophone, May 2017

The Concerto No 1 here has the requisite muscular, big boned impact, as it takes the late - Mozart concerto format and stretches it to bursting point. The finale in particular has invigorating, impulsive energy. A splendid conclusion to the cycle. - International Piano, September 2017

On two previous discs, Yevgeny Sudbin and Osmo Vänskä have released Beethoven’s three last piano concertos to critical acclaim. Distinctions include Editor’s Choice in Gramophone and top marks from the Italian magazine Musica and the German website Klassik-Heute.de, and performances have been described as ‘electrifying’ (classicfm.com), ‘absolutely stunning’ (Fanfare) and ‘a Beethoven experience you will not want to miss’ (ClassicsToday.com). For the final disc in their cycle, Sudbin and Vänskä have travelled to Helsinki to team up with Tapiola Sinfonietta, one of the top Nordic ensembles, and well suited for these earlier and more classical of Beethoven’s concertos. Of the two, the one we now know as the Second was actually begun several years before Concerto No. 1, and indeed even before Beethoven left Bonn for Vienna. During the following decade, Beethoven returned to the score repeatedly and made substantial revisions – including composing a new final movement – and ultimately the C major concerto reached publication first. Both concertos were conceived long before Beethoven's involvement with the symphonic genre, and the influence of Mozart and Haydn is evident in the interaction between the orchestra and the soloist – but Beethoven's individual spirit is nevertheless unmistakeable.