Some recital, this. Piotr Anderszewski establishes a commanding tone for the opening section of the Second Partita’s Ouverture, hopping elegantly through the little march that leads on to a fast, immaculately voiced fugue. He uses the Courante’s ornaments to “lift” the melody line, and the play between a seamless legato and a gentle staccato accompaniment in the following Sarabande works wonderfully well. The Rondeau is again trippingly elegant, the closing Capriccio assertive in a way that balances it with the opening fugue.

Faschingsschwank aus Wien launches with a flourish: Anderszewski fractionally delays the opening’s second chord in authentic Viennese style, while the Scherzo is full of telling though effective emphases, mostly along the lines of “question and answer”. And yet in the ravishing Intermezzo I felt rather too aware of the notes (so many to negotiate): here Richter and Michelangeli remain sovereign. The finale works best, a fantastical sojourn dazzlingly negotiated.

Janácek’s In the Mists is a given a peach of a performance, a sense of improvisation sitting securely at its heart. Each movement tells its own very personal story, or seems to, the third alternating idyll with searing drama. If you need convincing of Anderszewski’s interpretative genius beam up 1'30" into the final movement where a lamenting oration prompts flooding cascades. Anderszewski’s mastery of simultaneously varied dynamics comes into play here but in Beethoven’s Op 110 he can be just a little over-emphatic on detail – in particular the accompaniment that underpins the first movement’s principal theme, from around 2'52". I’m assuming that a member of the audience took the first two of the finale’s repeated G major chords to signal closure – you hear what sound like a couple of very distant claps at around 9'35" into track 7 (disc 2). In fact, throughout the recital the understandably enthusiastic Carnegie Hall audience is rather too keen to bound in at the end of each piece, a mild distraction on a recording that you hope to play again and again. Which you will, mark my words – and my quibbles are really only for the hyper-fussy. As I’ve already suggested, this is an exceptional recital, and as ever the Carnegie Hall acoustic allows for a luminous piano tone. By the way, the folky Bartók encore is pure delight.