Hough joins forces with the City of Birmingham Symphony Orchestra and Andris Nelsons for a robust, grand reading that nonetheless leaves room for lyricism and introspection…[but it's in the Dvorak] that Hough truly sparkles. There's glowing tenderness, irresistible buoyancy and soaring grandeur in the first movement, Grieg-like lyricism in the Andante sostenuto…while the Finale has infectious spirit. The CBSO's playing is smart and colourful.

Andris Nelsons and the CBSO clearly relish the symphonic nature of the [Dvorak] and their playing is one of the great pleasures here…Hough enters the conversation with great subtlety and he's certainly unafraid to point out the score's lyrical beauties, allowing the music to unfold with suppleness without underplaying its drama or, where required, heft

Hough's passagework is a model of clarity, never overpedalled, and you can really hear all of the intricacies and rhythmic quirks of Dvořák's writing. The contribution from the CBSO should in no way be underestimated either, thanks to Andris Nelsons's sensitive and sympathetic conducting...I constantly felt that everyone involved had exactly the same focus and artistic goals.

Few pianists have championed Dvorak’s early concerto, so when a player of Hough’s calibre does, one takes notice. He makes as good a case as I have heard for the work...Hough could hardly have more sympathetic partners than the CBSO and Nelsons. Worth owning for the Schumann alone.