Isata Kanneh-Mason’s fifth Decca release is dedicated to the music of Fanny and Felix Mendelssohn in an interesting programme including transcriptions by Rachmaninov, Moszkowski and Liszt.

In Felix’s G minor Concerto, Kanneh-Mason has near-ideal collaborators with the London Mozart Players under Jonathan Bloxham, who are able to match her fleet tempos and urgency of intent. In the Andante, Kanneh-Mason skirts any sense of saccharine sentimentality with her crystalline sound, exquisite phrasing and sheer simplicity of utterance. And if anyone finds the first movement insufficiently exhilarating, surely the finale will leave them breathless, without sacrificing a single detail. Kenneh-Mason’s seemingly effortless precision of articulation, even at breakneck speed, is nothing short of awe-inspiring. The kaleidoscopic colours of Rachmaninov’s transcription of the Midsummer Night’s Dream Scherzo are a joy to behold, as is the melodic poise of Liszt’s transcription of ‘On Wings of Song’.

It is Fanny’s 23-minute Easter Sonata, however, that is the centrepiece of the recording. Here we experience the richness of Kanneh-Mason’s musical imagination at its fullest. The highly chromatic fugue that commences about a third of the way into the Largo is a model both of clarity and expressiveness. A light-hearted Scherzo abandons beautifully wrought cheerfulness briefly in a slightly more sober Trio. The finale, which Kanneh-Mason plays with astonishing virtuosity, depicts the moment of Christ’s death, with earthquakes and the rending of the veil in the Temple, before concluding with a serene fantasy on the chorale ‘Christe, du Lamm Gottes’. Throughout the four movements, Kanneh-Mason maintains a secure emotional and intellectual grasp of a masterpiece, long lost, then misattributed, and only recently recognised as the work of one of the 19th century’s unjustly neglected composers.