Whilst I cannot in all honesty put my hand on my heart and say that this will be the Grieg Concerto as you've never heard it before, this new CD does present something rather different. The familiar work is played in its original version, that is, the version of the first published edition of 1872, which represents the composer's 1868 autograph manuscript.
The most noticeable changes are in the orchestration, and the one that immediately grabs the attention, though it is relatively minor, is the inclusion of pizzicato strings, a tuba and horns to accompany the drum-roll right at the outset of the first movement. Of more interest, though, are bars 49–52, where, instead of having cellos introduce the lyrical second subject, one hears a trumpet. This is effective. The majority of instances where things diverge are annotated in the booklet.
Actually, Love Derwinger's performance itself is extremely fine and Hirokami handles the orchestral accompaniment with a degree of sophistication that is all too often missing in the work. It is a light-textured reading throughout. I should mention that in bars 140–61 of the finale the familiar flute melody is doubled first by the clarinet and then by the oboe the string accompaniment being scored an octave lower. The recorded sound generally is up to BIS's usual high standards.
Of the solo items, the Larvik's Polka of 1858 written when Grieg was only 15, could be by anyone, but the 23 Short Pieces that follow brim over with original ideas, even though the style is still uncharacteristic. One feels that at times Grieg is trying to mimic animated human speech, as in the sixth piece, but the strongest impression that comes across is of a mind of amazing energy, caprice and brilliance. Derwinger is superb at showing the music in its best light. He plays the miniatures straight and without mannerism. This is a very enjoyable release and fully worthy of this anniversary year of the composer's birth.'