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This is not the first time Rangell has coupled Nielsen and Ives (the Luciferian Suite with the First Sonata, on the Bridge label) and it works well. In Nielsen’s Op 59, Rangell offers a slightly more variegated view than Ogdon in that pianist’s 1967 version, Rangell being intensely musical but less involving in the finale. Schoenberg’s Op 33 receives an affectionate performance.

Luiza Borac is a major competitor in the Enescu but Rangell gives a magical account of the bell-like sonorities here. For the Ives, Rangell again accentuates the lyrical side, taking the edge offsome of the mania. While both Aimard and Hamelin are if anything too assured, Rangell offers a different contextualisation. Fascinating listening.

COLIN CLARKE Read the full review on Agora Classica


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