Unlike many live recordings, it’s clearly the record of a single performance; there are a few minor accidents (piano fluffs, fleetingly imperfect intonation), some audience members with annoying coughs, and I wondered whether the Bartók fugue had been part of a complete performance of the Solo Sonata. More to the point, it’s obvious that Dizdari and Blach are giving their all and not considering possible retakes. The Janácek is truly passionate, rougher than Repin and Lugansky’s recent studio recording (DG, 3/11), but this music, I think, actually benefits from moving beyond purely beautiful sounds (Janácek seems to agree, writing feroce at the start of the finale).

When not aiming at ferocity, Dizdari’s tone is notably rich and expressive – especially in the Pärt, played with a very modest degree of slowish vibrato. The Hungarian Dances are given with great panache but the highlight of the programme, for me, is the Enescu. In a work that depends so much on performing style, and with such detailed instructions, Dizdari and Blach seem to get both the spirit and the letter just right. I felt sure they must have listened to Enescu’s recording with Dinu Lipatti. The opening of the second movement is perhaps not mysterious enough – Dizdari cuts short the rests between her phrases – but the Wigmore audience’s cheers at the end show how powerfully communicative the performance has been.