Isata is not just Sheku's sister and was never going to be. And Clara Schumann isn't just more Chopin or Mendelssohn although if it said so on the label, it would fool me.
The Piano Concerto in A minor, op. 7 was begun by Clara aged 13 and first performed aged 16. Isata is 23 and Romanticism is perhaps a young person's thing, before they have the chance to become jaded. But it was Romanticism that became jaded eventually. While still lyrical and caressing in the hands of Schubert, Mendelssohn and the Schumanns it was gorgeous and is always welcome when I'm on holiday from the baroque.
The concerto, with the Royal Liverpool Philharmonic, is the opening flourish- dramatic and possibly strident in places. She arrives confident and fully formed. But it's not flash, not even for the sake of it. It seems to me Isata best moments are in quiet reflection, or in relating the Schumanns' thoughts when they are thus. It might be that first impressions, although I'm on my fourth already, make the transcriptions of Robert's Widmung, that may or may not quote Ave Maria, and Mondnacht marginal stand-outs but the album benefits from being played as a whole and it is lovely throughout, not least in the 3 Romances for violin and piano, op.22 with Elena Urioste a marvellous companion to follow and interact with.
We are left with the Piano Sonata in G minor, thoughtful and playful, so that all there is to do is listen to it all again. It will be some time before this is filed on the shelves and it might be longer than I thought before I return to homeground with music of earlier periods. If I were still in the business of nominating the year's best in poetry, books and music, this would be at least shortlist material, luminous, informative and not a trace of gender politics correctness in sight.
Goodness gracious. It's things like this make you realize why you do it.