''To boldly go where no man has gone before'' is undoubtedly brave, but Jean-Marc Luisada shows another kind of courage in view of the popularity of this coupling and the quality of the competition. But he brings freshness to both these concertos and Michael Tilson Thomas is an affectionate partner. In the Schumann which comes first, Luisada holds things back a little during the first movement, and although this sounds self-conscious, he compensates with fine tonal detail. The dialogue and balancing with the orchestra are also fine, and well served by a recording (made in EMI's Abbey Road Studio No. 1) which allows us to savour some textural points that usually go unnoticed. We could have more tenderness in the gentle A flat major section of the first movement, but the central ''Intermezzo'' is deeply romantic indeed, a little too richly so for my taste. The finale is taken deliberately, though not without some bravura.
The Grieg is less convincing. Luisada and Tilson Thomas could do more with such passages as the lyrical second subject in the Allegro molto moderato, and the slow movement requires a greater sense of wonder—as does the famous F major passage in the finale with its radiant flute solo suggesting a morning of absolute purity (the pianist does not match the flautist here). Again, too, Luisada is at times self-conscious, so that the first movement cadenza emerges as portentous. Hence, although these are pleasing performances and not without a touch of distinction, my first choice for this coupling remains Stephen Kovacevich with the BBC Symphony Orchestra under Sir Colin Davis, a 1971 recording that still holds its own in terms of perfectly focused interpretation. Admirers of Murray Perahia may well claim a joint first place for his 1988 live recording with the same conductor and the Bavarian RSO. Both these discs offer playing of admirable insight, perfectly balancing vigour and tenderness.'