Markus Groh’s booklet-notes – effusive as they are informative – take the form of a letter to Liszt. ‘Please forgive me for contacting you directly,’ he writes to the composer. ‘You may perhaps find it naive, stupid or even pretentious of me, but I must simply tell you how important the pieces on this recording are to me.’ The proof of the pudding is in Groh’s performances on this outstanding disc. Here is Liszt playing of rare passion and musical integrity. There is no tip-toeing round the great B minor Sonata, no imposition of self-conscious effects or losing the thread through over-interpretation. Over and above its masterful construction and ingenious thematic interplay, it is a virtuoso vehicle that should thrill the listener – and Groh scintillates. This is no superficial pell-mell reading – it is artfully and judiciously paced – but the clarity of detail combined with such ardour and spontaneity make this a most impressive account (the vivamente non legato section from 8’40” to the end of the ‘first movement’ is a good example of what I mean).

In addition, Groh produces a lovely sound throughout the dynamic range – even when he is rattling the lowest bass strings in the B-A-C-H Fantasia. Cziffra is hardly more imposing than Groh (winner of the 1995 Queen Elisabeth Competition, incidentally). More thunder and fireworks follow inLiszt’s solo version of his Totentanz, its transcendent difficulties brushed aside with aplomb and exuberant relish. My only complaint is that there are no entry points on the CD, just three tracks for the three works. But if I may reply to Groh on behalf of Liszt: ‘You play well, young man and, yes, you understand me.’