The suite is not only Nielsen's greatest keyboard work but arguably the mightiest ever written in Scandinavia. Martin Roscoe is right inside this music and guides us through its marvels with great subtlety and authority.

Nielsen's patchy output for the piano has not received the sustained attention the rest of his music has, yet Hyperion's is not the first complete recording. We've had sets from Arne Skjold Rasmussen, John McCabe and Mina Miller, of her own critical edition; here Roscoe plays David Fanning's 2006 revisiting of the music.
These new recordings are sonically the best yet. Roscoe is famed for his touch and his playing's delicacy and finesse is evident throughout, from the early Five Pieces (1887-90) to the PianoMusic for Young and Old (1930). In the Op 45 Suite Det Luciferiske (1919-20), he emphasises the lighter side – Lucifer was the bringer of Fire and Light after all – while in the Three Pieces (1928) he gets the balance between expression and experimentation just right (as does Leif Ove Andsnes in his selection).
However, there is more to Nielsen in his keyboard works than subtlety: the bigger pieces need power and at times Roscoe seems reticent compared to his rivals. He is on record as finding Det Luciferiske's finale expressively 'terrifying' yet that quality is absent from his playing.
This applies elsewhere, whether the trifling Festival Prelude for the New Century which Miller makes more substantial, or the Humoresk-Bagatelles' electrifying 'The Jumping Jack'. Miller is generally livelier (some may argue over-characterised) but is let down by a somewhat clattery instrument; hers remain an impressive achievement.
Roscoe's need more time to make their full impression as he lets the music make its own mark. While it may be invidious to judge a set on a single work, perhaps it is the treatment of the wonderful Chaconne (1916) that provides the truest benchmark: Roscoe is at his best here, showing a clear grasp of its structure and momentum.

Roscoe is famed for his touch and his playings delicacy and finesse is evident throughout.

Martin Roscoe is right inside this music and guides us through its marvels with great subtlety and authority.

One or two works here – A Dream About Silent Night and the Festival Prelude – would not have been missed had they not been included. Yet the Symphonic Suite, Op 8; the Chaconne, Op 32; the magnificent Theme and Variations, Op 40; the Suite, Op 45; and the late, posthumously published Three Piano Pieces, Op 59, are powerful, poetic, original in both idea and structure, widely varied in mood, impressively organic and as important in their way as any of Nielsen’s remarkable symphonies. Martin Roscoe’s technique withstands everything that the composer throws at it. He obviously believes in every note, as well he might.

Carl Nielsen's piano music is not the best known aspect of his output, so Martin Roscoe's marvellously played survey provides a valuable insight. There are mature works, such as the Suite and the Theme and Variations, that can stand beside his bigger orchestral pieces, but also a revealing collection of Piano Music for Young and Old - 24 "studies" in all the keys that in their quirkiness never sound less than echt-Nielsen.