I can't add much after agreeing with all the points made by Scott Morrison in his review. Argerich is a splendid Mozart player, a rarity for a musician who has studiously avoided Mozart. Over a fifty=year career (hard to believe) she has recorded two solo concertos, K. 503, in a live concert setting under Szymon Goldberg (EMI), and K. 466, in a strikingly bold reading under Alexandre Rabinovitch. She also joins Rabinovitch as second piano in the duo concert, K. 365.
I agree with Mr. Morrison that this account of the Beethoven First from 1983, although beautifully played by the Bavarian Radio So, and in gorgeous sound, suffers from Ozawa's dull, literal conducting. It seems to have dampened Ms. Argerich's usual spontaneity; she gives a relatively straightforward reading, with flashes of temperament, until the finale. Even so, the Goldberg account feels more like her. How odd that she and richter both avoided playing the two greatest Beethoven concertos, no. 4 and the "emperor." They also share a classical bent toward the three early concertos, so one mustn't expect fire from Argerich; I'm just grateful that she lets her fancy run free in the finale here.
The Mozart, Concerto no. 18 in B flat K. 456 dates from the miracle year of 1784 that saw the outpouring of a stream of great piano concertos. This performance from 1973 finds the usually stolid Eugen Jochum in a perky mood, and the sound, although a bit thinner than the Beethoven, is still very good, well up to studio quality. The first movement has a cheerful, skipping theme that promises no clouds in the sky, which is very different in mood form the composers that Argerich gravitates to. She's bold and forceful, with not a hint of tinkly or mincing playing. The piano is placed far forward, no great flaw since Mozart's woodwind writing is not exceptionally prominent; they tend to play as a group without the piano and can be heard well.
Jochum ignores the "un poco sostenuto," which asks for a sustained legato. Argerich is not at all dreamy in this movement, strongly articulated every note. the absence of really soft or elegant playing will not appeal to everyone. Despite the tendency of period performers to make Mozart ever more dainty, clipped, and detached, for all we know he played this movement exactly this way. The finale, in a gamboling 6/8, is based on a theme that feels a bit insipid (dare one say so?), but it's handled with lively imagination, by both Mozart and Argerich. She's so lively and direct that one wishes she had given us half a dozen more examples.
So it's the Mozart that makes this CD so valuable, with the Beethoven being of incidental interest.