‘Lane's committment to, and affection for these difficult works is abundantly clear, and his playing is simply marvellous, bringing a kaleidoscopic range of colour and an utter solidity of technique that makes even the most taxing passages sound easy’ (International Record Review)

‘Piers Lane and Hyperion deserve praise for bringing this unjustly neglected genius to our attention with such a delightful recording’ (Classic FM Magazine)

‘As usual, pianist Howard Shelley, leading the Tasmanian Symphony Orchestra, enters into the spirit of the music’ (AllMusic, USA)» More

‘If you’ve enjoyed previous volumes in Hyperion’s Romantic Piano Concerto series, you’ll certainly warm to this delightful release’ (BBC Music Magazine)» More

‘Howard Shelley, who performs the dual role of piano soloist and orchestral director, delights in the charm and the considerable technical challenge of it all, and with his always fluent and controlled fingerwork, he makes it sound easy’ (International Record Review)

«Shelley et les Tasmaniens jouent avec une verve, une beauté de sonorité, un noble abandon qui attisent les bravos» (Diapason, France)

‘There are few more dextrous or musicianly pianists then Shelley … and I am more than grateful for an artist who, like Herz himself, can make you think 'that a bird had escaped from his fingers and went undulating and singing through the air' (The New York Times in 1946)’ (Gramophone)

‘Shelley makes even the most plainspun of phrases sound like long-lost treasure being discovered anew. First-rate accompaniment and resplendent sonics round out an unexpected delight’ (Classic FM Magazine)

‘If you've enjoyed previous volumes in Hyperion's Romantic Piano Concerto Series, you'll certainly warm to this delightful release’ (BBC Music Magazine)

‘Shelley and the Tasmanians are persuasive advocates for these three piano concertos: this is charming, tuneful music, deftly orchestrated by a man who obviously knew his Chopin, Rossini and, in the nocturne-like slow movements, John Field’ (The Sunday Times)

‘These charming concertos, the second of three volumes conducted by Shelley from the keyboard, are just the thing to set the feet tapping’ (The Observer)

‘Howard Shelley is well up to the considerable technical challenges that these works present and, apart from phrasing intelligently himself, persuades the orchestra to follow suit. In all, a disc that looks on the bright side of life’ (BBC Music Magazine)