Jill Crossland is a new name to be reckoned with. Yorkshire-born, she studied at the Royal Northern College of Music and while a student performed the complete cycle of the Well-tempered Clavier, after which she went to Vienna to work with Paul Badura-Skoda. A highly individual player, thoughtful yet compelling, she has the gift of spontaneity in the recording studio, to carry the personal insights of her interpretations, as at a live performance.
Jill Crossland is a natural Mozartean and gives a delightful performance of this F major sonata compiled from a rondo K494 and a separate allegro and andante K533 making it seem a composite whole. She is very well-recorded.
Her account of the adagio of the Tempest sonata is wonderfully lyrical and the delicacy of the finale equally persuasive. The following performance of Op110 is undoubtedly very wayward, but her strength of commitment is always very convincing, and in the Adagio and fugue she is at her most magnetic, with the tension sustained and increased to the powerful close of the sonata. She is very well recorded.