The Romantisches Klavierkonzert is a big play for the soloist, the difficulties of its densely chromatic writing, ‘exuding the aroma of tardigrade romanticism’ (Hinson), not always apparent to the listener. More symphonie concertante than duelling concerto, it can be powerfully effective in the right hands. American David Lively and the Bochum orchestra are faced with the disadvantage of being recorded, apparently, from the back of an empty gymnasium. Steven Sloane’s tempi in the two outer movements are sluggish and his players seem unwilling to put their hearts into this lush score – the last few bars of the work are veritably limp. The competition is Marc-André Hamelin’s world-premiere recording: no one is better than he at unravelling complex keyboard textures and here he is on top form. Powerful, crisply articulate, as well as warmly responsive to the music’s emotional demands, he is more than two minutes faster in the opening Lebhaft and closing Sehr lebhaft movements, to the music’s benefit. (In a live radio broadcast from the 1980s, not released commercially, Jorge Bolet, whose favourite concerto this was, is more magisterial and equally ecstatic in the work’s climactic passages.

ASV’s trump card is the first recording of Marx’s ‘second’ concerto (Walter Gieseking, no less, gave the first performance in 1931). Castelli romani consists of three pieces for piano and orchestra entitled Villa Hadriana, Tusculum (‘an old garden town of ancient Rome’) and Frascati, the latter providing a rare example of a mandolin solo in a piano concerto. The score is less thickly textured (it puts one in mind of Respighi’s Roman trilogy); the players seem more engaged, the so und more focused. The finale, full of southern Italian high spirits, is particularly successful. I do hope, incidentally, that David Lively’s fulsome biography in the booklet was written by his agent and not by the pianist himself.