Orion Weiss approaches the oft-recorded Goyescas suite more as a classicist in line with recent versions from Garrick Ohlsson, Jean-Philippe Collard and Yoonie Han, as opposed to the more volatile Romantic orientation of José Menor, Michel Block and, of course, Alicia de Larrocha. Let’s start with the cycle’s most popular movement, ‘The Maiden and the Nightingale’, where Weiss’s reserved understatement contrasts to de Larrocha’s curvaceous animation, yet whose dazzling poise in the coda’s birdsong flourishes is a masterclass in tonal application. If Weiss doesn’t tap into the Fandango’s sultry subtext as convincingly as Menor, his fluid and transparent way with the Balada keeps this lengthy movement afloat in a manner quite different from the more massive and brooding recordings by de Larrocha, Collard and Artur Pizarro. Whether or not you prefer Menor’s rhythmic leeway to Weiss’s stricter handling of the heel-clicking Epilogo is a matter of taste.

Weiss may not inflect Janáček’s In the Mists with Jan Bartoš’s mesmerisingly personalised rubato, yet his floating legato lines more than satisfy the first movement’s dolcissimo directive. He imparts distinct timbral and emotional characteristics to the second movement’s short chordal phrases and flickering presto runs. The pianist’s sedate and generalised Andantino, however, holds less interest next to Thomas Adès’s quicker pace and attentive articulation (Sigum, 6/20), and he tends to minimise the Presto finale’s quirky discontinuity, which pianists such as Piotr Anderszewski and Rudolf Firkušný defiantly project.

The solidly crafted yet careful Scriabin Fifth Sonata on Weiss’s 2014 solo debut disc (Yarlung) unquestionably gives way to his expansive, colourful and texturally varied Ninth. He keeps the undulating bass lines alive and engaged, while the ricocheting repeated notes and luminous trills generate exciting tension as they build to the music’s final climax.

It’s taken eight years for these 2014 recordings to appear but, as the saying goes, better late than never.