The concerto has received mixed praise from music critics. Reviewing the world premiere, Anthony Tommasini of The New York Times called it "a surging, mercurial 32-minute work" and wrote, "The concerto has great stylistic diversity: elusive atonal stretches; writing for the piano that evokes the spiky style of Stockhausen one moment and the voluptuous colors of Ravel the next; orchestral flourishes with the sweep of Rachmaninoff; episodes recalling Mr. Lindberg's earlier work in which he explored extremes of complexity." He added, "Yet for all the shifts in language and style, the concerto comes across as organic and inevitable. I kept waiting for this teaser of a piece to break out. It never really did, but I look forward to hearing it again."[2] John Allison of The Daily Telegraph similarly described the concerto as "disappointingly conventional," but noted that "it still excitingly captures all the tussle inherent in the concerto form."[4]
However, the work was highly praised by Georgia Rowe of the San Francisco Classical Voice, who said, "...it emerged a work of tremendous power and considerable allure." She continued:
You can hear echoes of Ravel (and Rachmaninov, and Gershwin) in the gorgeous orchestral harmonies, and in the piano's cascading lines. Yet there's a deeply mysterious aspect to the score, as well. This is music that invites the listener to reverie: Ravel glimpsed through a kind of dream-lens. Over its 30-minute length, the concerto yielded a mesmerizing study in contrasts: a work that looks back fondly to early 20th-century Romanticism, while contemplating a dark, unknowable future.[5]
