It was a pleasing idea to couple Grieg's Piano Concerto with others of his orchestral works instead of, say, the Schumann Concerto as so often happens, and it may tempt people to buy this issue even if they already possess other versions of it. However, the Concerto is a little disappointing, for although the playing of Lilya Zilberstein and the Gothenburg Symphony Orchestra under Jarvi is sensitive and quite sympathetic, somehow the work does not quite take off expressively. For an example of what I mean, try the second subject of the first movement, at 2'24'': the cellos sing this melody, but neither spaciously nor beautifully, and when the piano takes over Zilberstein's tone and phrasing fail to ravish my senses. Similarly, the development does not build effectively to its climax and the cadenza sounds careful––and I could go on. One misses a sense of joyful spontaneity, though we get nearer to it in the finale. Some of the blame may rest with the recording, which lacks sparkle and tonal bloom, nor least where the piano is concerned. There are many good versions of this work in the catalogue, and some of real distinction, and in these circumstances this new one cannot be competitive.
Both the other works had earlier keyboard incarnations. The Lyric Suite consists of orchestrations of four well known pieces from Book 5 of the Lyric Pieces for piano (''Shepherd Boy'', ''Norwegian March'', ''Nocturne'', ''March of the Dwarfs'') while the overture In Autumn is an orchestration of a fantasy for piano duet with the same title––which in its turn derived from a song in the composer's Op. 18 called ''Autumn Storms''. In the Lyric Suite, Jarvi also includes Grieg's orchestral version of the hauntingly original ''Bellringing'' (from the same set of piano pieces), and shapes the drooping melodies thoughtfully although pushing the ''Shepherd Boy'' to expressive excess; the final March is very exciting. In Autumn is not so interesting as music, being strong on gestures but short on substance, but Jarvi and his orchestra present it persuasively.'