Vasily Petrenko and Simon Trp?eski complete their cycle of Rachmaninov's music for piano and orchestra in some style. Trp?eski seems to relish the edgier, mercurial aspects to these three works, and his approach makes the neglected First Concerto really glitter. We're a world away from the more familiar Second and Third Concertos- the cantabile melodies are largely absent and there's an exuberant, loveable flashiness about the work. Starting with doomy Tchaikovskian fanfares which suggest a tongue-in-cheek response to Grieg's Piano Concerto, the mood quickly lightens. Trp?eski is alive to the sheer fun to be had, and his impetuosity is neatly matched by Petrenko's Liverpool players. The last movement's capricious changes of metre here sound unerringly modern, but the slushy lyrical interlude is treated with tender affection. It's an unpretentious minor masterpiece, and so much more fun than the two concertos which followed.

As is the even rarer Fourth Concerto, premiered unhappily in 1927. Richard Bratby's entertaining sleeve note reminds us that this is the work of a composer long established in the United States, who'd attended the premiere of Gershwin's Rhapsody in Blue a few years previously. The mood of bittersweet nostalgia is beautifully articulated, but Petrenko and Trp?eski can inject plenty of exhilarating swagger when required. My favourite moment comes a minute before the close of the final movement - a sublime, slightly hammy climax which suggests a passionate farewell to the music which had made Rachmaninov famous. It really does sound sensational here, the Mantovani-style strings soaring over sonorous lower brass. It's wonderful.

The better-known Paganini Rhapsody closes the disc. Rachmaninov's craft and intelligence shine through, in a witty, percussive reading. Avie's sound, recorded in Liverpool's Philharmonic Hall, is refulgent, warm and detailed.