The figures of Auguste Dupont and Peter Benoit may be little known outside their native Belgium, yet both enjoyed pianistic and pedagogical success in their lifetimes. Benoit’s symphonic poem is a piano concerto in all but name, ending with a spiritedly Mephistophelean ‘fantastical hunt’.

If the warmly Romantic bloom on these concertos suggests the spirit of an earlier generation—both works date from the 1880s—the music of Stéphan Elmas retains its own distinctive voice, a voice heard to best advantage in Howard Shelley's persuasive accounts.

Composer and conductor, pianist and pedagogue: Aloys Schmitt was respected by his peers and largely forgotten by posterity. As so often in this series, the three works recorded here will have listeners questioning that posthumous neglect.

A fascinating new name bursts into our Romantic Piano series with the two concertos by Thomas Tellefsen, here coupled with an extended concert piece by series stalwart Friedrich Kalkbrenner. All three works here enjoy Howard Shelley’s trademark dexterity and exuberant bravura technique.

Sergei Lyapunov has always been a shadowy figure, his derivative yet distinctive voice drowned by his more celebrated compatriots and even by his contemporaries Taneyev, Liadov and Arensky. Yet hearing the First Symphony in a performance of this calibre you're reminded of the way Lyapunov's melodic appeal is complemented by brilliant craftsmanship.

We talk of the nine symphonies of Beethoven and Bruckner but what about the ten of Spohr? Howard Shelley and the Orchestra della Svizzera Italiana conclude their survey of his symphonies with two that push the boundaries of the genre itself. Both Nos 7 and 9 are programmatic works, something that Spohr along with Berlioz did much to champion. In the Seventh, titled ‘The earthly and divine in human life’ and inspired by a holiday in Switzerland, he uses not one but two orchestras to great colouristic effect. His Ninth explores that perennial favourite theme of composers from Vivaldi to Glazunov, the Seasons (though Spohr starts with winter rather than spring). As if that were not enough, Howard Shelley also offers the premiere recordings of a brief, powerful Introduzione and a triumphant, at times almost Rossini-ish, Festmarsch.

This is music to lift the spirits, all of it crafted with Hummel's infallible taste, grace and unpretentious early Romantic sensibility' As on previous discs in this Chandos series, the playing is beautifully judged in scale, neither understating the music's virtues not over-egging its charm.

Howard Shelley continues to overturn the conventional wisdom about Mendelssohn’s unjustly neglected piano music, again demonstrating convincingly its claims on our attention.

Dohnányi’s Ruralia hungarica celebrates his homeland’s folk music with authentic melodies, collected by Bartók and Kodály, all presented in glowing, vibrant orchestral dress. The opening movement introduces a pastoral atmosphere with important material for oboe and strings and then comes a song for clarinet about a weeping willow. The music is warm and sunny, sentimental but with a dramatically tense climax. The second movement is a racy, thrusting rondo with a touch of the oriental. The third movement is gentler, calmer and wistful and innocent. The fourth movement is full of emotion, quite raw at times when it touches on the depravity of a girl who is banished from her home. Finally the Fifth movement rushes headlong to a tempestuous conclusion.

Howard Shelley is an acknowledged expert in the area of early Romantic piano music. With this disc, Shelley presents the first installment of a six-volume set of Mendelssohn's complete solo piano music - perhaps the least well-known part of the composer's repertoire. Mendelssohn composed or began nearly two hundred works for piano. However, only about seventy were published during his lifetime.

Howard Shelley’s fascinating discs of Spohr’s symphonies with the Orchestra della Svizzera Italiana have reignited interest in a composer who was once the most important in Europe, and particularly so in England, where he was worshipped by all of musical society. Spohr’s Eighth Symphony is one of the composer’s more conservative experiments with the form. The Tenth is the composer’s final symphony and remained unpublished – languishing in the former Prussian State Library in Berlin for many years – until 2006. Both works bring unexpected pleasures. This is the penultimate volume of a series which as a whole is an important historical document of musical taste.

Mendelssohn's First Piano Concerto is much more popular, and more frequently played, than his Second. When you listen to this disc, you'll find out why. The First is an inspired piece with memorable themes, enjoyable but not ostentatious display for the piano, and a great sense of fun. The Second has unmemorable themes and a similar style without conveying the sense of fun. For those who like lesser Mendelssohn better than I do, this disc is very well played throughout, although the piano takes Howard Shelley's attention away from conducting and the orchestral playing isn't as distinctive as the piano playing.

Howard Shelley’s light touch, fresh and colourful orchestral playing, and excellent recording, make this very well worth hearing on its own account, not simply as a rediscovered rarity.

This program is simply delicious As with other releases in this series, Howard Shelley plays Hummel with elegance and flair. Much of this music, particularly in the shorter concert works, is very brilliant and highly decorative, but Shelley never makes you feel as though it consists of empty note-spinning. The London Mozart Players accompany sensitively and with aplomb. A good time was clearly had by all, including the engineers, who provide vivid sonics.