Beethoven: Piano Concerto No. 2 in B flat major, Op. 19

“Tan's playing has a flair and poetic feeling that are rather special and this partnership with Norrington...has great spontaneity. Tan's individuality comesover unforcedly without unwanted wilfulness” Penguin Guide, 2010 edition ***

“This Zurich performance of the First Concerto is beautifully articulated. True, there are moments of grandeur but the overall impression is of a poised, at times chamber-like traversal, with sculpted pianism and crisply pointed orchestral support. The sensation of shared listening, between Bronfman and the players and between the players themselves, is at its most acute in the First Concerto's Largo, which although kept on a fairly tight rein is extremely supple (the woodwinds in particular excel). In the finale, Bronfman and the Tonhalle provide a clear, shapely aural picture.
Bronfman's B flat Concerto (No 2) has the expected composure, the many running passages in the first movement polished if relatively understated.
Again the slow movement is full of unaffected poetry and the finale (with the odd added embellishment) is appropriately buoyant – has Bronfman ever played better?” Gramophone Classical Music Guide, 2010

“David Zinman´s Beethoven cycle with the Zurich Tonhalle continues to prosper” The Guardian, 2006

“Time and again Beethoven's exuberant, unpredictable nature is qualified by playing of a supreme poise and equanimity that omits so little of his essential character. It's also one of Solomon's cardinal qualities that he makes it impertinent to single out this or that detail, offering instead a seamless argument as supple and natural as it's understated.
Solomon makes the slow movements the expressive centres of each concerto, and here his ability to sustain an Adagio or Largo is without equal. This is notably true of the first two concertos, where such writing becomes music to soothe the savage breast rather than awake more immediate emotions. In the outer movements his superfine technique and musicianship make light of every difficulty, and at 6'55" in the Second Concerto, after an impatient if very Beethovenian entry, he re-creates a magical sense of stillness and repose.” Gramophone Classical Music Guide, 2010

“Solomon's performances celebrate a dedication to musical truth and a timeless purity that place him among the keyboard giants. This is great Beethoven playing.” Penguin Guide, 2010 edition ***

“ravishingly executed, classically poised” Classics Today

“strong and persuasive” Penguin Guide