The 1836 Pleyel, used here, is an enticing piano. In the outstanding booklet-note (by three writers, including the pianist himself) Arthur Schoonderwoerd unequivocally says that ‘the instruments made by the Pleyel firm were the ones that Chopin liked best’. So the reason for choosing a similar model is laudable. Schoonderwoerd is a real enthusiast but his artistry lags behind his intentions; and the results are not unequivocal.

The playing is neither graceless nor aggressive; on the contrary, it shows deep affection for Chopin. But Schoonderwoerd’s interpretations are limited by a mechanical square-ness, of equally weighted notes and equalised phrases that keep the music rhythmically inert. The Grande Waltz Op 34 No 3 is so static and sedate it’s hard to believe that the marking is Vivace, the Polonaise Op 26 No 2 is very short on fervour, while the Tarantelle carries a strong whiff of the cocktail lounge. Schoonderwoerd is either amiable or anodyne and, most regretfully, neither characteristic will do.