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Somm’s 2-CD album is a Mozart festival of special quality and inclusiveness. Disc 1 is devoted the indefatigable Valerie Tryon who, long famous for her nonchalant ease in music such as Balakirev’s Islamey and the Liszt Transcendental Etudes, follows her early and superb Mozart concerto record with another of no less distinction. Here, she modifies the composer’s sturm und drang in his D minor Concerto with all of her impeccable taste and musicianship. Closer to Clara Haskil’ sobriety than to, say, Argerich’s tempest-tossed recording, her clear and unaffected playing rises above the orchestra’s seething unrest in the opening Allegro and achieves a true sense of drama in the Romance’s central downpour. Again, in the sunnier realm of K467 there is absolutely nothing between creator and re-creator. Cadenzas are by Lipatti and shine a novel light on what is often thought of as his saintly character, while in the C minor Fantasia, K396 Tryon fully conveys Mozart’s reaching out towards a bold, declamatory and dissonant future.

For the Two-Piano Concerto and Two-Piano Sonata Tryon is joined by Peter Donohoe, for the Three-Piano Concerto by  Mishka Rushdie Momen where there is a truly glorious sense of relaxed music making, of an interplay and dovetailing as sparkling as it is affectionate. Even compared with recordings of K365 by artists of the calibre of Géza Anda/Clara Haskil and Clifford Curzon/Daniel Barenboim, Tryon/Donohoe convey a rare sense of empathy and delight. Somm’s sound and balance are exemplary and Michael Quinn’s note is as enlivening as the playing.

BRYCE MORRISON Read the full review on Agora Classica

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