Wojciech Kocyan’s 2002 and 2005 recitals for the Dux label have resurfaced in time for me to alert collectors not to ignore them again. His Prokofiev Seventh is one of the best in the catalogue. He applies whimsical, marvellously timed rhythmic freedom to the first two movements, while judiciously balancing the finale’s right-hand chords against the driving left hand, resulting in delicious textural interplay and melodic momentum. Also note the pianist’s harmonically aware rubatos and shapelier bass-lines than usual in the two early Scriabin sonatas, along with his solid, stylish Rachmaninov Preludes.

“Reflets dans Chopin” surveys two centuries’ worth of homages to the master. It opens with the first recording of Schumann’s Variations on Chopin’s G minor Nocturne, Op 15 No 3, reconstructed from incomplete autograph sources by Joachim Draheim. The restless keyboard patterns run themselves into the ground rather than soar as they often do when Schumann is inspired. Although Kocyan has technique to burn, he downplays the flashy aspects of Liszt’s six Polish Song arrangements, stressing poetry and nuance through his speech-like phrasing of trills, mordents and other decorative gestures. At the same time, he doesn’t hesitate to unleash the left-hand tidal waves in “Narzeczony”.

Kocyan proves equally sympathetic to Mompou’s urbane, almost jazzy idiom as he is with Mark Saya’s inventive deconstructions of seven Preludes, where the wide interval displacements and quick-draw dynamic extremes resemble the lovechild of Chopin and Boulez. Whether you choose this disc for interesting programming or go with the Russian anthology for musical substance, don’t miss out on this musicianly, highly individual and simply wonderful pianist. He’s the real thing.