Reviewing the New York City premiere at Carnegie Hall, Olin Downes of The New York Times wrote, "Mr. Thomson writes gaily, tunefully, and in an unpretentious manner. He has taken care to write as idiomatically as possible for the solo instrument. He avoids lengthy developments or over-extensions of his ideas. Sometimes the connective tissue between the main ideas is thin, sometimes the developments sag a trifle. But the evolutionary symphonic style is not here the composer's intention. He is entertaining us."[2] The concerto is frequently cited by the music critic Tim Page as one of his favorite Thomson works.[3][4][5]