One of Sviatoslav Richter’s great attributes as a Rachmaninov player was his ability to pick and choose among the compositions, devising sequences that put each piece in the best possible light. Even the Etudes-tableaux contain some arid stretches, where Rachmaninov’s most inventive figurations can’t conceal glacial harmonic movement. Pianists intent on presenting them serially have their work cut out.

Zlata Chochieva’s approach to the Etudes is sensitive and understated. Her prevailing lyricism is especially appealing in such pieces as Op 33 No 2 (C major), Op 33 No 7 (G minor) and Op 39 No 2 (A minor). In Op 33 No 4 (D minor), for instance, her subtleties of touch and rhythm yield unusual and persuasive insights. The ebullience of Op 33 No 6 (E flat) is irresistible. Chochieva has a superb capacity for holding Rachmaninov’s cantabile line aloft effortlessly, allowing it to take flight.

These magic moments are frustratingly dispelled in other Etudes, particularly those of a more robust or heroic character. An enervated Op 33 No 3 (C minor) comes off as static, while Op 33 No 8 (C sharp minor) lacks direction and scope. Hyper-expressivity robs Op 39 No 3 (F sharp minor) and Op 39 No 5 (E flat minor) of their inherent energy surges and visionary scope. One hopes that Chochieva will continue to play Rachmaninov, with whom her affinity is undeniable, but focus on those pieces that suit her best.

Exemplary recordings of individual Etudes-tableaux are many, beginning with the composer himself, up through Horowitz, Cliburn and Le Guay. If you prefer listening to all of them, the recently reissued set by Nicholas Angelich sustains interest more successfully.