Nelson Goerner presents some of Schumann’s wildest children in this finely recorded recital, beginning with the mighty Etudes symphoniques. Beauty of sound is uppermost in the theme, which perhaps dreams a little too freely. In general he is most convincing in the faster movements (the third étude or the motoric seventh). But I’d question whether the eighth étude is truly sempre marcatissimo, while the ninth doesn’t have the sense of being on a knife-edge in the way of Géza Anda or Alexander Romanovsky.

There’s no definitive solution when it comes to the placing of the posthumous variations: Goerner inserts them between Etudes 9 and 10, thus forming a poetic interlude very much in keeping with his approach to the work as a whole. He’s particularly effective in the fifth of the variations, very much in the spirit of Cortot. Then we’re back to reality in the propulsive 10th étude. Crucially, he finds a fast tempo for the final number but it could be a degree more gung-ho, technically speaking (as witness Hamelin). And Goerner’s use of desynchronisation here is a bit too prevalent for my taste. But one thing he does consistently do is seek out unusual and effective voicings – eg in the first posthumous variation but also in Kreisleriana, notably in the second and third numbers. He’s also alluring in the fifth movement, and entirely satisfying until you hear Perahia play it. In the lolloping closing movement Goerner is dreamier than Uchida, whose intensity lingers long in the mind.

We end with Schumann’s Toccata which, I can’t help feeling, is perhaps not Goerner’s piece. Again, there’s lots of interest in the textures but I craved a bit more Horowitzian pizzazz (as can be heard in a number of recorded performances). Alternatively, at a not dissimilar tempo to Goerner, Josef Lhévinne shows just what can be done.