The suite, somber and mournful in character, is a tribute to the composer's brother, Yrjö, who as a captive during the Finnish Civil War was executed by the Red Guards.

Oh when will we see the day when the forces of hatred vanish from the world and the good spirits of peace can return to heal the wounds inflicted by suffering and misery?Around this time, Madetoja also published in Lumikukkia magazine a short piece for solo piano, originally titled Improvisation in Memory of my Brother Yrjö (lmprovisationi Yrjö-veljeni muislolle).

A true poet speaks to us ... in a clear and personal language..." As such, the review continued, Madetoja had no need to "dabble in hyper-modern forms of expression" that composers utilize when they need to compensate for "an inner emptiness".

This occurred on 19 March 1923, when the Finnish pianist Elli Rängman-Björlin [fi] played Madetoja's suite during a public recital at University Hall in Helsinki.

[2] At the conclusion of the performance, Madetoja—who was in attendance—received a "well-deserved" applause from the audience,[2] which—though large—failed to fill the ballroom due a scheduling conflict with the Finnish premiere of Sibelius's ballet-pantomime Scaramouche.

[6] In addition, the critics praised Rängman-Björlin, variously characterizing her playing of Madetoja's suite for its "delicate execution"[2] and "visionary finesse".

Emphasizing Rängman-Björlin's Finnish heritage, Allgemeine Musikzeitung wrote that Madetoja's "very attractive" suite had sprouted from "the national soil"; similarly, Dresdner Nachrichten [de] described The Garden of Death as "finely colored and impressive music", the "strange, folk-like tone" of which had "charmed with its wonderfully barren sweetness".

[8] Near the turn of the decade, Madetoja's The Garden of Death also obtained the valuable advocacy of the Finnish pianist Kerttu Bernhard [fi], who played the suite to acclaim in both Paris and Berlin in 1929.