If the coupling of these two fine romantic concertos, written in the same key, is in danger of becoming a cliche in the recording industry, we may also remember it has been said that a cliche is a great truth merely made stale by repetition. In fact the quality of this music is such that it can come up fresh over and over again in sympathetic performances. Seta Tanyel comes from Armenia but studied in Western Europe and has gone on to be a prize-winner at several international competitions; certainly her playing is both skilful and engaging.
However, for my taste there's something rather lacking in the Grieg as played here, and for want of a better word one might call it positive personality: listen to the second subject at 2'25'' in the first movement and its development section starting at 4'30'', and see if you, too, find it just a bit routine, or at least understated, both pianistically and orchestrally. The cadenza (9'00'') is similarly laid back, as regards momentum, and in the finale's F major melody (3'23'') I miss the sense of quiet ecstasy that Stephen Bishop-Kovacevich (Philips) above all brings to it. Also, the coda to the Concerto does not catch fire early enough. But I mustn't overdo this point, and indeed collectors who understandably hate this familiar music being flogged like a tired warhorse may well find the performance refreshing in its slight reticence. The recording is to match, with the piano placed a little further back than usual and orchestral detail (well handled by Fruhbeck de Burgos) clearly delineated.
The Schumann Concerto is again sensitively presented and this work with its greater intimacy suits Tanjel just a little more than the Grieg though again I have to say that the first movement with its Allegro affettuoso marking could have more urgency (listen to the soloist, say, from 1'51'' to 2'40'' to see what I. mean). In the highly competitive field of this popular coupling, you still cannot do better than the classic Philips account by Stephen Bishop-Kovacevich, Sir Colin Davis and the BBC SO. The recording is 20 years old but still sounds well. Alternatively you could consider the excellent new version from Pascal Devoyon, Jerzy Maksymiuk and the LPO on Classics for Pleasure, which also happens to be at bargain price. Both these issues most successfully balance virtuosity with poetry.'