Not surprisingly the symphony is a good deal more conventional than its recently recorded successors from the late 1970s which have fallen on unresposive ears in these pages. Each movement starts promisingly in a style rooted in late-romanticism with cautious excursions into more modern territory, but Karamanov has a disconcerting tendency to doodle and drift into non sequiturs. The Third Piano Concerto veers between a haunting simplicity (reminiscent at times of Britten) and passages of saccharine sub-Rachmaninov. A disc, despite serviceable performances, that does little to further the composer’s cause.'