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The album title seems apologetic, but the superbly polished performances conjure the question: Why are these works not performed more often? The sonatas by Ethel Smyth and Irène Wieniawska (who composed under the pseudonym Poldowski) are as good as most late romantic effusions, Elizabeth Maconchy’s three preludes match any modernist’s equivalent. Meanwhile Phyllis Tate’s Triptych and Ethel Barns’ cameo La Chasse defy definition but do delight.

PHILLIP SOMMERICH Read the full review on Agora Classica


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