I almost wish that Krzysztof Meisinger’s improvised Invocazione introducing Domeniconi’s popular Koyunbaba suite had opened his recital, so mysterious and evocative are its spare harmonics and more florid outbursts amid the surrounding silence. But no: Tárrega’s Capricho árabe, here taken at a leisurely but well-judged tempo, is the right piece to introduce this programme, comprising works inspired variously by folk music, an idealised past and the music of the ‘other’.

Guitar idioms are integral to much of Albéniz’s extraordinary piano music. That’s why it’s always worked well on guitar. Meisinger chooses to follow the Tárrega with two contrasting works by Albéniz: the ‘Malagueña’ from Op 165 and the oft-recorded Asturias. Meisinger points up the latent eroticism of the first before sweeping into the second with a seductive accelerando.

Mompou’s piano music represents one of the most distinctive and enigmatic bodies of work from last century. It’s a pity he didn’t write more for the guitar. His only work for that instrument, the Suite compostelana, is a minor masterpiece, profound in its simplicity. It takes a player of Meisinger’s stature to pull off a successful performance, and here the Preludio, Cuna and Canción are especially well rendered, with plenty of changes in colour and expressive agogic accents.

One can easily draw a line between Albéniz’s Asturias, Mompou’s Preludio and the fast toccata-like figurations of the last movement of Koyunbaba – which work as a whole Meisinger treats less as a vehicle for virtuoso display and more as an opportunity further to explore its improvisatory origins. The other Turkish-influenced work by Domeniconi here – the Variations on an Anatolian Folk Song – is, however, in Meisinger’s hands, even more beautiful.