Offered here in reverse order of composition, Rachmaninov’s three substantial works for two pianos are given muscular and exuberant performances by these two Royal Northern College contemporaries, well recorded (Mike Clements) in two different venues (Op 5 in the pianists’ alma mater in 2002, Opp 17 and 45 in Henry Wood Hall, 2004). The Symphonic Dances, Rachmaninov’s final composition and originally conceived as a ballet for Fokine, come off particularly well, but I was struck listening to Earl Wild and Christian Steiner how much more vividly the two pianos are identifiable on left and right speakers. Personally, I like this realism; others, I know, will prefer the Naxos blended sound picture.

The first three movements of Suite No 2 are also superbly characterised; the Valse is utterly charming, Donohoe and Roscoe projecting their obvious relish of playing together and overcoming with a knowing twinkle the trickier obstacles with which Rachmaninov presents them. The final Tarantella, though, does not match the benchmark Argerich/Freire account (Philips, 9/01) in which the sparkling repeated-note section in the primo part is tossed off with breathtaking nonchalance: steady Mancunians against daredevil South Americans. Donohoe and Roscoe make a good case for the early First Suite even if they do not always respond to Rachmaninov’s ppp markings in the over-written first movement, and the nightingale in “La nuit” sings more sweetly in the hands of Ashkenazy and Previn (Decca). Ending with a riotous peal of Easter bells – what evocative writing this is! – the disc can be firmly recommended, despite these minor reservations.