Cramer’s piano concertos were written to showcase his formidable proﬁciency in the new pianistic techniques—and evolving piano technologies—of the day. Howard Shelley here revisits the composer, delivering persuasive accounts of three further concertos.
BBC Music Magazine December 2020
All three works have individuality and substance; and it’s hard to imagine they can ever have been much better played. There are just a few moments – for instance the chords of the piano’s first entry in Concerto No. 1, which sound over-full (rather than actually overloud) on Shelley’s modern concert grand – where you miss the feel and articulation of a classical-period piano. In every other respect the immaculate playing here is alert and personable in a way that transcends contentious issues of style.