Carlo Zecchi (1903 84): Italian pianist; brief but spectacular career between the wars; abandoned keyboard for the podium 1942; two CDs’ worth of 78s made between 1930 and 1942. On the surface, this would seem to be one for the piano specialist – and so it is – but I think Zecchi’s recordings are so remarkable, so individual and compelling that it commands the interest of music lovers in general.

Overlook the varying quality of the pianos, recorded sound, surface noise and even (in an otherwise disarmingly touching Chopin A minor Mazurka) dropout and distortion. What characterises Zecchi’s playing, apart from his fearless disregard of the red light, is his sense of purpose. He has gone into the studio to say something personal and important. As well as the fantastic finger technique, clarity of texture and long paragraphs, Zecchi leaves you feeling there is a lot more in the tank if required.

Some may find his Chopin too assertive (the Grand Canal becomes decidedly choppy in the Barcarolle, for instance, during an enthralling journey) but nowhere is he any less than convincing, even if the sound picture of the Brandenburg Concerto No 5 (with Arrigo Tassinari and Gioconda de Vito) militates against its complete success. Among many highlights are five Scarlatti sonatas, a Vivaldi-Bach Concerto (BWV973), a delightful Kinderszenen (each section vividly portrayed), three fabulous Liszt recordings (‘La leggierezza’ was a party piece) and a tonally shimmering ‘Poissons d’or’. Add to that an ear-tickling Toccata by Francesco Ticciati and a cracking ‘Alborada del gracioso’ and you surely have enough to add Zecchi’s name to the Golden Age Roll of Honour.