Both these Ashkenazy recorded performances have stood the test of time, and both recordings were originally, first class, so that the Schumann, from the late 1970s matches the vintage Tchaikovsky from the early 1960s with only marginal differences in sound: each offers a firm, realistic piano image and a natural orchestral balance. Acute ears will notice a degree of hiss at times and perhaps this is more apparent in the earlier recording, but it is not a major problem. Those looking for histrionics in the Tchaikovsky had better look elsewhere, but Ashkenazy's first movement is uncommonly satisfying in its feeling for the poetic element and this is shared by the response of the LSO under the sensitive Maazel. If I were asked to make a choice (particularly in the finale) I would opt for Argerich and Dutoit (on DG, coupled with Prokofiev's Third Piano Concerto), but if the coupling with Schumann is suitable then this is a fine alternative. Here Ashkenazy and Segal are rather more dramatic, and it must be admitted slightly less spontaneous than Bishop-Kovacevich and Sir Colin Davis (on Philips, coupled with the Grieg), but there is no lack of warmth and poetry. It is a pity that these CDs, however praiseworthy, are still issued at premium price, yet they stand up so well to more modern competition.'