The first selection, Concerto Symphonique for piano and orchestra, is a forceful piece with horns and timpani providing a bombastic fanfare. The first movement, the dirge-like Pesante, flows into the equally chaotic and powerful Allegro vivace. The final movement, Allegro deciso, begins with a flourish and continues the often-torrid pace established by the first two movements and culminates in the reiteration of the fanfare by the orchestra, which is also echoed by the piano. Although written as a concerto for piano and orchestra, this piece doesn't have the piano play a very prominent role. Perhaps the only time when Yui’s powerful playing emerges from the background is during the cadenza near the close of the first movement.

The Scherzo Fantasque for piano and orchestra is similar in tone to the Concerto Symphonique, but offers more opportunity for the pianist to showcase her talents. Although brief, this piece is attacked with gusto and feeling by Yui. Unlike the Concerto Symphonique, where the piano competes with several layers of the orchestra’s sound, the Scherzo Fantasque allows for more interpretation, with the piano generally competing with only a single section of the orchestra or a solo instrument.

The Concerto Grosso No. 2 for strings is the final selection on this disc and will appeal to purists who eschew the typically disorderly sound of modern symphonic music. A lyrical blend of individual and massed strings, the first movement is sweet and serene. The mournful quartet of violins, viola, and cello fuses effortlessly with the string sections of the LSO. The remaining three movements are less dulcet, yet I found them to be satisfying on a visceral level.