Last year I was lucky enough to review the wonderful DG Eloquence set of Ruth Slenczynska’s ‘Complete American Decca Recordings’ (3/21). These recordings, made in the late 1950s and early ’60s, are dominated by Chopin. As I wrote at the time, the warmth and humanity of her playing allied to her astonishing technique made her playing of the Polish composer one of my listening highlights of last year. It was about the same time that Decca called the then 96-year-old pianist, inviting her to record an album for them, 65 years after she had first stepped into the New York recording studio.

It’s a great story. I wish with all my heart that I could say that this new recording was even half as successful as those Slenczynska made 60-plus years ago. But sadly it is not. Far too many pieces are played achingly slowly – and while speed is not the be-all and end-all, and may not be surprising from a pianist now in her 98th year, such lethargic tempos do not show the pianist or the music in the best light, and cannot bear comparison with other recordings of the same pieces.

Take Rachmaninov’s transcription of his own song ‘Daisies’, which begins this programme of Slenczynska favourites. The easy flowing cantabile of the composer’s own recording (from 1940) is a mile away from that of the little girl whom he taught all those years ago, as can be gauged from the timings: Rachmaninov 2'12", Slenczynska 3'22" – a big difference in a short work. The two Barber items also have some personal significance in that the young Slenczynska was befriended by Barber at the Curtis Institute. Later on, we encounter a ‘Wedding Day at Troldhaugen’ where the bride will arrive very late if she walks no faster than this, and Chopin’s Study Op 10 No 3, which hardly holds together when heard at practice speed.

The pianist’s 1959 recording of the Op 18 Grande valse brillante is brillante indeed beside the newcomer, pace the fleet dispatch of the coda. The most successful Chopin performance is of the longest work here, the Fantaisie in F minor, despite some longueurs. What is still there is beauty of tone, full, rich chords played with stirring conviction and, considering Slenczynska’s physical frame, amazing power. Best of all is the final Bach Prelude and Fugue, playful, witty – and youthful. But no, with regret, the album as a whole will have to be filed under ‘curiosity’.