According to Ugorski, his conductor was attracted by the naïve vein in the early (1896) Piano Concerto, a pretty slice of classical romanticism. There’s certainly a virginal candour about the slow-movement theme from childhood, and Ugorski handles its journey to the abyss and back into the light winsomely. Yet Rozhdestvensky’s melancholy underlining complements wife Postnikova’s Chopinesque roulades more poetically. He has also captured the personable introspection of the short, apprentice Fantasy in his orchestration. Ecstasy, as one might tellingly abbreviate it, may be a more generous companion, but here, despite snarling Cleveland trombones, the Boulez objectivity is less welcome; one yearns for the sensuous teasing of a Russian conductor like Svetlanov and the more resonant blast of a Russian trumpeter. Performance: 5 (out of 5), Sound: 5 (out of 5)

-- David Nice, BBC Music Magazine