...This is vibrant and virile music making full of passionate sweep, arresting clarity, and genuine, chamber-like give and take between soloist and orchestra.

Like his teacher and mentor Artur Schnabel, Fleisher underlines Beethoven's harmonic tension by either distending or slightly speeding up certain runs and arpeggiated sequences, yet rarely at the expense of accuracy (the Fourth Concerto finale's rapid left-hand figurations are uncommonly clear), although he's not one to slave over making every long trill perfectly even and tapered. Under George Szell's eagle-eye, the Cleveland Orchestra members achieve staggering unanimity in regard to articulation and marcato phrasing, but with more heart and singing impulse than in Szell's relatively stiffer Beethoven accompaniments for Emil Gilels eight years later...

--Jed Distler, ClassicsToday.com [reviewing the Fourth Concerto, Sony 78767]