This marks the third
version of the Grieg Piano Concerto
now available to the public. The "final
product," is widely and effusively available
in every record shop. Then comes the
"first version," which Grieg performed
before he incorporated the suggestions
of Franz Liszt. That holds special appeal,
and is available on BIS with Love Derwinger
as the soloist with the Norrköping
Symphony Orchestra. Now we have the
world premiere recording of the two-piano
version, with the second piano part
worked on between Grieg and Austro-Hungarian
conductor Karoly Thern, who worked especially
on the sections when the orchestra plays
along with the soloist. The Piano I
part is not merely the solo piano part
of the final version of the concerto.
Despite pianos have
more difficulty sustaining notes in
comparison with orchestras, the tempi
here remain fairly consistent with the
standard playing times of the concerto.
I tend not to be a fan of piano reductions
of symphonic music, with their reliance
especially on rolling octaves, but this
version of the concerto certainly has
appeal. In the first movement the line
between what one would hold as the orchestral
line and the solo part get blurred in
a way that perhaps could have been better
articulated, but this is a small complaint.
The two-piano version holds a more intimate
sound and aesthetic while still straining
to maintain its loyalty to the finished
article. One wonders what the result
would have been if Grieg would have
gone for something along the lines of
what Hummel did with his chamber reductions
of Mozart's piano concertos. Those show
a very interesting side to the works
and can be heard in very enjoyable performances
by Fumiko Shiraga on BIS.
The opening measures of the Concerto's
slow central movement are quite beautiful
here, though the orchestral version
holds more dramatic punch. I agree with
an earlier reviewer
that the final movement shines a light
on aspects of the orchestral part that
one tends to overlook, given the grand
gestures allotted to the soloist in
the regular version of this concerto.
Goldstone and Clemmow forge a convincing
performance of the two piano version
that fans of this great concerto would
benefit from hearing.
Another revelation,
at least for this reviewer, is the inclusion
of the two-piano version of the Mozart
Sonata in C, K 545. The fact that Grieg
thought he might just add a piano part
to such a piece gives one new insight
into Grieg's character and nerve. No
doubt displeasing the purists out there,
Grieg was unfazed by their reaction
to his effrontery in jostling a mainstay
of the piano repertoire. The additions
don't amount to anything approximating
a hijacking of the Mozart piece à
la Schnittke, but is an "augmentation"
of sonorities already found in the original.
Many might find the additional part
an unnecessary distortion to better
fit a Romantic perspective. To my ears
it is a charming gilding of the lily
that serves as an agreeable companion
to the Concerto.
The other world premiere
recording, that of the Homage March
from the incidental music to the forgotten
play Sigurd Jorsalfar, is engaging,
though of far less import compared to
the Concerto. The march, as with another
march
from the same incidental music to that
play is stirring in its own way, though
again no innovation to the genre.
The first suite of
pieces from Peer Gynt are also
included and all cast light on Grieg's
creative process for those familiar
with these pieces. The most successful
of them in this format are Anitra's
Dance and, unsurprisingly, In
the Hall of the Mountain King. Aase's
Death also holds a certain beauty
that translates well to the duo piano
arrangement though this reviewer still
prefers the orchestral version.
This is quite an interesting
and well-performed programme. There
are quite a few fans of these pieces
that will discover new facets to this
music from the performances found here.
The recording quality is solid and clear,
with some sense of ambient space without
going to the extent of muddying the
sound. Catch this one while it's available.
David Blomenberg
see also review
by Jonathan Woolf
Caroline Clemmow (piano) 
