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Xiayin Wang has impressed before, in music by Earl Wild and Rachmaninov. Good though those discs were, one feels she has properly come into her own with the present offering of American piano concertos. The Royal Scottish National Orchestra plays superbly under its new music director, Peter Oundjian (once first violinist with the Tokyo String Quartet).

The Barber Concerto (1982) finds Wang playing with real authority. The solo part – and, indeed, the piece as a whole – emerges with a sense of consummate inevitability. She is capricious, bold and delicate by turn: the rapt slow movement is simply beautiful, while the finale reveals her tremendous technique. Even John Browning’s recordings do not match this.

The Copland Concerto comes into competition with the likes of Earl Wild (with the composer conducting). Yet such is the sense of fun exuded by Wang and Oundjian that other versions are all but forgotten. The music is as far away as can be imagined from the evocative Copland of Appalachian Spring, and the score has lain in the shadows for far too long. Wang does it a great service here.

Finally, the Gershwin, a piece well served in the catalogue. Here, competition is huge, from Cherkassky to Wild to my preferred version, André Previn (London Symphony Orchestra). Wang is bright, sparkly and blessed with a terrific solo trumpeter in the slow movement. Wang and Oundjian generally strive to underline the progressive nature of the score, adding to the fascination of their account. A most rewarding disc, and further evidence of the talent of Wang.

COLIN CLARKE Read the full review on Agora Classica

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Piano International, 2014 - ©Rhinegold Publishing