The piano sound is pleasant and warm throughout – far more so than Martin Jones’s Mompou survey on Nimbus, for example. And despite a leaning towards slow tempos, Vos never loses sight of smooth voicing, savouring each note in all its infinite beauty and meaning. There are moments, in particular in the Cançon sections of Cançons i danses, when the pervasive rubatos and rhythmic stretchings verge on predictability, but Vos’s sensitivity and affinity for the music come to the rescue.

Compared to Mompou’s own account of Cançons i danses – so full of Mediterranean light and flavours – Vos’s approach is notably soft-lens. True, these are meant to be memories of dances rather than actual ones, but who said the sun can’t shine in the land of memories? There is also a more rhetorical quality to Alicia de Larrocha’s take on the Impresiones intimas, providing a mid-point between Vos’s melancholy and Mompou’s relative angularity.

Vos has evidently made his selection from Mompou’s output with his own poetic temperament and sound in mind. By contrast, Volodos’s brilliance suits a programme that traces the composer’s stylistic evolution and embraces other facets of his personality. Volodos also offers a thrilling and markedly more dramatic interpretation than Vos of ‘El llac’ (‘El lago’), the second piece of the Paisajes set, all of which may be found on Stephen Hough’s acclaimed Mompou disc. Hough, too, covers a more varied repertoire than Vos, in a carefully designed programme that eschews chronology in favour of aesthetic and poetic connections. 7 Mountain Records’ recorded sound for Vos certainly has the edge over Hyperion’s but Hough’s poetic and moving booklet note greatly enhances the listening experience, also providing background information that is largely absent from the accompanying essay by Isabella Vos.