feels that this is his finest solo concert; having "courted the flame for a very long time," he writes, this music speaks "the language of the flame itself." Perhaps playing in the European-tradition-encrusted Vienna Staatsoper had an overt influence, for never has a recorded solo concert fallen into such a logical, even classical overall structure as this one -- all on the wing, mind you. Part I develops in a majestic 41-minute arch, opening with a simple chorale, devotional and trenchant, and suddenly kicking into a daring, complex, agitated toccata without a key center, technically dazzling and darting. That coalesces into a grand tonal passage with inferences of the great European piano concertos before subsiding into a quietly affirmative finale. Part II is shorter and less rigorously structured, surging and ebbing around shimmering tremolos and a brief pulsating rhythm, alternately evoking the Middle East and the medieval Dies Irae. exalted judgment is close to the mark; though more Eurocentric than ever, these are his most impressive solo performances since . ~ Richard S. Ginell