In Guy Johnston [the Concerto] has a soloist entirely sensitive to its swift and sometimes paradoxical changes of mood: this is an effective performance of a little-heard and underrated work...The Ulster Orchestra is in fine form, and JoAnn Falletta seems to have the measure of Moeran's elusive and eclectic idiom.

[the Cello Concerto is] full of the most heart-stoppingly beautiful inspiration...Johnston responds with heaps of poetry and selfless dedication...The Ulster Orchestra under JoAnn Falletta are certainly on their toes both here and in the three remaining items.

To my ear cellist Guy Johnston is the most impressive of the three players to have recorded the principal work...Johnston plays with just the right musing rhapsodic freedom and with a beautifully unforced tone...this is a good place for a Moeran newcomer to start a collection and a compulsory purchase for all other acolytes.

Guy Johnston is a wonderful ambassador, eloquent yet never saccharine in the elegiac passages, feisty and big-boned in the exuberant outbursts...If you treasure the Elgar and Walton Concertos, or are open to the idea of a Lark Ascending with a sting in its tail, then I’d strongly advise you to take a punt on this disc: you can certainly have fun playing ‘spot the influence’ as you go along, but Moeran is still very much his own man

Recognising that it's not a work in which soloist and orchestra confront each other, they combine to give a perfect sense of shape and purpose to the endless song of the first movement, with its fiercely combative central development, and locate the emotional heart of the work in the introspective central Adagio, which Johnston shades very beautifully.