Upon my second exposure to these performances, some additional reactions; in truth, a form of coruscation has arisen from this particular listening, that promulgates some questions that had never materialized for me in Beethoven's music heretofore:
In having dealt with the connection between the period called Sturm Und Drang (storm and stress) and Beethoven's language, I had, through the years, simply connected the sense of hubris and drama associated with the play by Klinger that bears the title Sturm Und Drang, which first appeared on stage in 1777 and gave name to the period that lasted about a generation thereafter.
There are, of course, historical connections that can be read about the sense of drama pertaining to Beethoven's language, especially in such piano works as the 'Appassionata' or 'Waldstein' sonatas, and the connection has for centuries been discussed and written about ad infinitum.
However, I have found, upon listening to Andsnes, that in some arcane manner the pianist projects a sense of positivism throughout all four concertos while at the same time reconfigures the ways of traditional drama and ensuing power which, for me, sublimates the entire aura of language design; an occurrence which I had never come close to contemplating before.
For me, Andsnes has instilled a kind of 'inner peace' in the spiritual core of Beethoven which tells me more about the nature of the Master, and his ultimate victory over personal tragedy.
If my words begin to appear rather turgid, do please know that I find it essentially impossible to describe that which I have heard - I can only listen, and make an attempt at coming to understand what I have heard.