Benno Moiseiwitsch always ranked among the world’s most delectable pianists. And here on a lucky Volume 13 of Chopin discs dating from 1939 to 1952 he shows himself as gloriously free, mischievous and mercurial. He can be curt, skittish or rhapsodic seemingly at will. Like Wilhelm Kempff he sets nothing in stone but allows his performances to shift and fluctuate with the mood of the moment. There are two Barcarolles to choose from, united by a similar groundplan (some characteristic naughty peek-a-boo trickery at the end) but with some subtle differences. The little B flat Polonaise is given with a poetic suppleness and teasing elegance that are pure Moiseiwitsch, and his way with the Op 9 No 2 E flat Nocturne provides a salutary reminder of Chopin’s plea for an essentially vocal approach to his writing. He is no less sympathetic to the operatic minor-key declamation of the E minor Nocturne and the three Scherzos (No 2 appeared on an earlier disc) are full of fun and fancy-free. Why not play this passage an octave higher than written, or add a flashing glissando if you feel like it? True, there are sketchy moments but if not everything is impeccable or exemplary these performances are rarely less than personal and beguiling.

Finally, as an encore, one of Moiseiwitsch’s finest triumphs, the Mendelssohn-Rachmaninov Midsummer Night’s Dream Scherzo. Jorge Bolet considered this among the most enticing of all piano recordings. Given as an afterthought following a long recording session, it even surpasses Rachmaninov’s own legendary disc in fleetness and tonal iridescence. Ward Marston has done his usual admirable work with the transfers and if there is much for today’s generation of pianists to ponder, they should beware of emulating such magic in the frequently sterile environment of the exam room or the competition circuit.