Everyone loves Grieg. Everyone wishes he had written more orchestral works in large forms. Well, now he has, more or less. I have to confess that I had some qualms about this project to arrange the three violin sonatas as violin concertos, especially on reading the statement, “In these arrangements the solo violin is set against a string orchestra augmented by wind instruments in order to retain the feel of chamber music.” After all, if you want to “retain the feel of chamber music,” why not just stick to the originals? In turns out that listening is believing. These are superbly made arrangements. The fact is that Grieg’s writing for solo violin in a duo sonata is naturally quite different from the kind that would have been necessary in a romantic concerto for violin and large orchestra. The use of restrained forces is thus entirely appropriate, and by having four woodwinds on hand–one each of bassoon, clarinet, oboe, and flute–there’s just ...