This is my first encounter with Nikolay Medvedev, a Russian pianist born in 1986, a graduate of the Gnessin Russian Academy of Music (where he now teaches) and a serial competition entrant (his website lists eight, the last being a semi-final place at the 2015 Tchaikovsky). Listening blind, could one tell that the pianist is Russian? High-octane virtuosity and cultivation of a long singing line are not enough on their own, though the beauty, colouring and, above all, depth of tone might have persuaded me. What one would not doubt in a blind listen is the nationality of the music that Medvedev has chosen. He has a natural empathy with (and the technical and musical means to convey) the heart-on-sleeve emotional turmoil common to all three works: try the second and fourth of Rachmaninov’s Moments musicaux for flailing, uninhibited angst, or the despairing misery of No 3 in gloomy B minor.

It is not that common to find Medtner included in mixed recitals of Russian piano music. Strange. One would have thought that, by now, he would be an automatic choice. Medvedev chooses the most frequently recorded of the sonatas, popular not only because of its powerful dramatic gestures but because ‘its coherence as a perfect organic whole on a large scale is also profoundly satisfying to the intellect’ (Barrie Martyn, Medtner’s biographer). It is in one continuous movement, a structure conveyed adroitly by Medvedev in a powerful and compelling performance. But among his rivals are Moiseiwitsch (quite superb in 1943) and, unrivalled in my opinion, Marc-André Hamelin. The Canadian is renowned for the clarity with which he elucidates complex textures and rhythms. He uses the pedal more sparingly than Medvedev and responds more acutely to Medtner’s svegliando, sussurando, fastosamente and myriad other idiosyncratic instructions.

Finally the problematic Tchaikovsky Sonata. It will take a greater artist than Medvedev to convince me that this is one of the composer’s finest achievements. The first and fourth movements, when they are not belabouring you about the head with a handbag, are full of ideas better used in the G major Piano Concerto. That is not to dismiss Medvedev’s barnstorming account, which takes no prisoners in delivering Tchaikovsky’s relentless, driven narrative. Overall, well recorded and well worth a listen.