Lars Vogt here swaps the keyboard for the podium in a disc that showcases his erstwhile pupil Danae Dörken, still only 24. Her sensitive musicianship is immediately apparent and in the first movement of Mozart’s K467 she adopts a light, slightly detached articulation which ensures textures are never less than buoyant, while Vogt gets from the Royal Northern Sinfonia playing of colour and immediacy. The Mozart’s infamously famous slow movement is set up with a wonderfully withdrawn sound in the strings and it’s a pleasingly ‘straight’ account. For all Dörken’s eloquence, though, Pires and Abbado remain pretty much peerless here – with Abbado setting up an effortless one-in-a-bar feel and Pires emerging almost imperceptibly from the string texture. The classic account from Uchida and Tate pulls us irresistibly into the opera house, and their finale has an irrepressible sense of joie de vivre which this new version can’t quite match, musicianly though it unfailingly is.

It’s good to have Mendelssohn rather than more Mozart as a coupling and temperamentally Dörken is utterly attuned to his idiom, allowing the slow introduction to unfold with an easy freedom. The fast movement proper combines litheness and airiness – there’s no doubting her technical abilities when it comes to Mendelssohn’s scherzando writing – and Vogt coaxes from the orchestra a similar ebullience. Just occasionally Dörken’s rubato can sound slightly self-conscious – but it’s a minor caveat. Her slow movement is particularly fine, treating the melodic line as a true song without words. It is marked Molto sostenuto, a mood she captures well. The finale demands playfulness and Dörken’s effortless fingeriness is very effective, if a degree less playful than Hough or Shelley. But, altogether, an enticing disc from a talent to watch.