This disc of mid-20th Century American piano concertos is a polished affair. Wang’s brilliant pianism is infectious and appropriately lyrical for the slow movement of Barber’s concerto. The Scottish orchestra under Peter Oundjian brings power to their role in the proceedings. Chandos maintains its usual high standard. And that should be it – but it isn’t. 

The problem concerns the two jazz-influenced pieces. Simply put, Wang doesn’t swing. To give an example, the piano licks in the third movement of the Gershwin are given a scherzando treatment: impressively achieved, but not what Gershwin was getting at. Underneath the Lisztian decoration is a streetwise toughness that eludes these musicians. Copland’s early concerto is one of the few where he referenced 1920s jazz. Again, Wang does not know what to make of this element. Missing the music’s louche cheekiness, she simply sounds awkward. To hear what is missing, turn to Copland and Bernstein (Sony). 

To rediscover Gershwin’s brash cityscape, try Earl Wild with the Boston Pops, or a 1954 Decca recording by Julius Katchen with Mantovani and His Orchestra (!), which is even more idiomatic. Katchen squeezes out every last drop of ragtime (as does Wild). And, fine as Wang and Oundjian are in the Barber, their competition includes two authoritative recordings by John Browning, for whom it was written.