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If you want Beethoven’s surviving output for mandolin – the Allegretto from the Seventh Symphony for mandolin, piano and double bass (sourced from Hans Sitt), that Saturday Night Fever parody from the Fifth (Walter Murphy’s, for mandolin, piano, double bass and drums, arranged by Bruno Fontaine), a nosegay of Hummel and Kreisler, and a commission from the young Frenchman Corentin Apparailly (given ‘the giddying task of painting a moustache on the Mona Lisa’, in this case mixing the Immortal Beloved letters with a dash of Satie and Rachmaninov) – then this is a must-have album. But it’s confused. Combining amplified mandolin with a close-miked Steinway grand is bizarre. Ensemble can be troubling, and the claustrophobic acoustic is fatiguing. While Martineau plucks away, Mosell takes an uneasy back seat, repressing personality and compromising touch. Never one for self-effacement, perhaps she should listen to how Denis Matsuev copes with balalaikist Anastasiia Tiurina.

And Martineau might usefully eavesdrop on the likes of Ekaterina Skliar and Anna Kislitsyna – phrasing and balancing Beethoven through a prism of mandolin and harpsichord.

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