The young British pianist Cordelia Williams turns her attention to Schumann for her latest recording, combining two established masterpieces with a late rarity. In Davidsbündlertänze there is a suspicion that she relates more to Eusebius than Florestan, with some fine hushed playing in No 2 (‘Innig’) and the rapturously lyrical inspiration that is No 14 (‘Zart und singend’). However, in the latter, Haefliger sings the line to greater effect, while Uchida uses her reactivity to sublime ends. In the Florestan-ish numbers, such as No 4 (‘Ungeduldig’), Williams is less unbuttoned than some, while No 12 (‘Mit Humor’) is just a bit polite, Uchida and Haefliger both taking more risks.

The C major Fantasie throws up a different issue: the need to sustain the music over longer spans. Williams seems to trade this for reactivity, particularly in the opening movement. And her central March feels curiously underpowered: I think she’s trying to show that it’s not simply a show of strength, as it can be with some artists, but to these ears it lacks momentum. Timings only tell a partial story but she takes 7'45" compared to Andsnes’s 6'54" in a reading that is superbly energised but never bombastic. And the seraphic finale is simply too short-breathed here. The late Geistervariationen, first cousin to the Violin Concerto’s slow movement, are played tastefully but a tad cautiously.