The Piano Concerto is the draw here but it is the shorter pieces that are most interesting. Effectively, this single disc gathers together Schumann’s viable piano-orchestral works and offers a conspectus of his experiments in search of new forms for the concerto. The Concerto itself is ubiquitous and needs no special pleading but the Introduction and Allegro appassionato and the Concert Allegro with Introduction (aka the Introduction and Allegro concertante) are far less well known, and quite undeservedly so. Presumably only their dimensions – both are around the quarter-hour mark – make them difficult to programme in concert, although this need not be the case, as triumphantly demonstrated by Finghin Collins at the Proms last year.

The D minor Concerto Movement was an early, aborted but instructive attempt at a concerto (here, as on Vinocour’s set, reconstructed by Jozef De Beenhouwer) and suffers somewhat from prolixity and a lack of memorable ideas. Opp 92 and 134 are not similarly afflicted. This music is by no means of inferior quality to the Concerto proper and it’s worthwhile remembering that Op 54 itself remained a single-movement Phantasie for some time. Had it continued to do so, perhaps its fate in the repertoire would have been no better than that of its later siblings. As to the performances, they are more thoughtful than Marshev (whose disc also includes Clara’s F minor Concerto Movement) and more dynamic than Vinocour. The recently merged German broadcasting orchestra is supportive if undistinguished. It may be invidious to compare Uhlig’s Concerto with countless great recordings of the past but his advocacy of the shorter works is more than welcome and augurs well as his Schumann survey continues.