Joseph Tong and Waka Hasegawa’s fascinating programme on July 22 brought a large and appreciative audience to Wigmore Hall, an audience well-rewarded with consistently excellent musicianship and playing of high technical accomplishment. They began with Poulenc’s Sonata for Two Pianos (1953), one of the French genius’s most serious and probing works; this was superbly performed, being followed by the relative rarity of Britten’s Introduction and Rondo alla Burlesca Opus 23 No 1 (1940), which proved to be so compelling a work as to cause one to regret once more the composer’s failure to leave at least one major keyboard piece in his output. Grainger’s Porgy and Bess Fantasy is an outstandingly original recomposition of one genius’s work by another; Grainger does not, at any time, follow the opera sequentially – but the result is a genuine ‘fantasy’, as he perceived the genre. This found Tong and Hasegawa on equally consistently fine form. The novelty in the programme, beginning the second half, was Three Miniatures for Two Pianos by Dai Fujikura – in total seven minutes – and their recital concluded with the most significant piece of the evening, Stravinsky’s Rite of Spring. On this occasion, we heard the duet version played on two pianos, a change which is not invariably to be recommended for this duet score was the first to be published of the work, in 1914…the result overall brought out the inherent excitement of this immortal score in a thrilling account from these gifted players.