It’s significant, however, that his account of Chopin’s youthful First Sonata, which certainly makes no claims to masterpiece status, is the most satisfying. Here one can only listen agog to the patrician technique, the ability to dispatch octaves as easily as single notes and to keep even the busiest contrapuntal textures clear and unmuddled. Rhythms skip along, passagework sparkles – the result is a delight. The Second and Third Sonatas, however, ask for more, and Moog doesn’t consistently deliver it.

In some respects he need fear no comparisons: few can have played the Scherzo or finale of the Third with such jaw-dropping precision and velocity, and the Second’s perpetuum mobile finale is, predictably, a tour de force. The sound is excellent, too. But something’s not quite right when the Second Sonata’s first movement starts at times to sound like a technical exercise, with sheer speed apparently a priority; yet this is sometimes how it sounds to me, most noticeably as we shift into triplet crotchets at the end of the exposition (from 1'50"). There’s an impressively intense concentration in the Funeral March, but also a lack of poetry in the central section, which is not in any rush (and quite slow by the clock, in fact) but strangely unloving; likewise the Scherzo’s central section. Listen to Argerich or Pollini, to name but two, to hear what these apparently straightforward notes can become.

The same virtues and drawbacks persist in the Third Sonata, where Moog is big on clarity but again short on poetry and, in the first movement, patience – again, Pollini is just one who shows how you can have all three.

There’s a lot to be impressed by, and the young pianist’s fans will be interested to hear him in the repertoire. For me, though, this disc shows that Moog’s Chopin has some way to go.