Here is buried treasure indeed: Louis Kentner’s legendary and pioneering 1949 recording of Lyapunov’s 12 Etudes d’exécution transcendante‚ Op 11. Sponsored by the music­loving Maharaja of Mysore‚ this disc reminds us not only of Lyapunov’s ardent and luxurious tribute to Liszt – Liszt seen through a rich and virtuoso Russian perspective – but of Kentner’s magnanimity‚ his free­wheeling‚ generous­ hearted style‚ sumptuous tone and aplomb. What imaginative fullness and freedom in the opening ‘Berceuse’‚ what dash and exuberance in the presto possible cadenza in ‘Rondes des fantômes’! ‘Carillon’ could hardly be more maestoso‚ more grandly processional before the sound of the troika and its joyful peal of bells‚ and what enviable sweep and glamour in ‘Nuit d’été’. There are no simple ossias or alternatives in ‘Idylle’ but a red­blooded revelling in every savage demand‚ and if Kentner’s tempos are less hair­raising than Stephen Hough’s in both ‘Lesghinka’ and ‘Rondes des sylphes’ (two of three Lyapunov Etudes selected for his ASV disc celebrating his 1983 Naumburg Competition triumph‚ nla) they have all the necessary frisson. Hackles will rise and hearts beat faster in the con strepito octave whirlwind before the close of ‘Elégie en mémoire de François Liszt’ and‚ throughout‚ you recall Liszt’s definition of a true virtuoso as one who lives dangerously‚ making ‘emotion speak‚ and weep and sing and sigh’. A tall order but one magnificently achieved by Kentner who in his early days was a pianist in the grandest of grand manners. APR’s sound is warm and natural‚ the essay by Malcolm Binns (who has also recorded these Etudes) is witty and informative and there is a delightful photograph of Kentner‚ cigar in hand and with a beaming smile. One hopes that further recordings of Kentner in Balakirev’s B flat minor and Liszt’s B minor sonatas‚ an intriguing re­working of the Csárdás macabre‚ and a delectable disc of Walton’s Waltz from Façade (to name but four) will become available in time.