Maria-Joào Pires has recorded these concertos before, for Erato, and this experience shows in assured playing. In K449 I find the sound of the Vienna Philharmonic, recorded in Vienna's Musikverein, too big: the string section seems large and the hall over-reverberant. Furthermore, the piano sounds plummy, and even those who dislike the fortepiano may question its suitability. With these reservations, one can enjoy Pires's deft and sensitive performance, without strong individuality but offering consistent intelligence, and the brisk finale shows her and Abbado at their best. Even so, this is a romanticized slow movement; the gooey orchestral sound does not help, but the pianist is also partly responsible in a way that I have sometimes noted in her performances of Mozart's sonatas.
Deutsche Grammophon has another excellent Schumann Concerto in its catalog, the Pollini/Abbado, with the Berlin Philharmonic, coupled with a good but not great Schoenberg Piano Concerto. Not surprisingly, Pollini is more muscular and evenly balanced in the Schumann, even if he is, as usual, a bit straitlaced. Pires is always the sensitive and probing artist, or so it seems. Here, she is alert from the opening descending chords to the expressive potential in every bar. She puts much more thinking and feeling in her interpretation than Pollini and most others I've heard.