Perfectly judged performances, with superb precision throughout.

As throughout, the clarity of the recorded sound, combined with Edusei’s attention to orchestral sonorities, provides continual insights into the ingenuity of Walton’s way with instrumental sound. [Hartmann] Kim is lyrical and, at times, deeply moving in the slow movements, and fierce in her declamation in the central Allegro di molto and its cadenza. In the concluding chorale, as in the opening one, her intense expressivity and the searing beauty of her become nearly overwhelming.

A consummate while never mindless technician, she identifies the essential trait in each – whether Walton’s modifying of the late-Romantic archetype, Hartmann’s revitalising of the baroque model or Bartok’s harnessing of a Classical formal poise with a modernist expressive range…That said, these readings are not the whole story.

A splendid introduction to three important works and composers who were active at a time of great crisis.

Kim gives a heartfelt performance that taps its emotions as much as it exploits its unashamed playfulness, and again there’s vigorous, characterful orchestral support. This, then, is a highly satisfying concerto collection, all in excellently recorded sound.