The three Concertos, conducted from memory, are a bag of mixed chemistries. Zuckerman's autumnal Beethoven does everything right, yet in its meditation and carefulness loses energy, sounding more held back than others sharing its (relatively quick) forty-five-minute span. The fire burns low. In the Brahms Double (playing from music) he's joined by his South African-born Canadian wife Amanda Forsyth, a latter-day protégé of William Pleeth. Musically (and visually) it's an oddly old-fashioned encounter, neither protagonist entirely comfortable with each other or the nature of Brahms's duo writing, Mehta driving a forceful, even belligerent, account in between.