

Ms. Chung intones the famous opening Aria with haunting serenity, yet infuses little character or rhythmic snap into the subsequent variations. Observing roughly half the

Rachel Podger’s small-scale, dynamically constricted, enervated, and emotionally withdrawn playing gives little clue to the harmonic tension, lofty architecture, and cumulative power of these works,

Unlike Lipatti’s 1950 recordings, made in the last year of his brief life on a less than ideal instrument, his 1947 sessions capture the full
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