The bait here is the Albumblätter, Op 124. This is hardly vintage Schumann but it is fascinating to hear chippings and memories from the last year of Schumann’s working life. Cyprien Katsaris (a former protégé of György Cziffra) is a notable explorer of the byways of the repertoire and here, in the Albumblätter, he captures all of the Scherzino’s wildness or the crazed flight of the Phantasietanz. His energy and enthusiasm also extend to the Variations on a Theme by Clara Wieck (the slow movement of the Third Sonata, Op 14, and for long a Horowitz favourite).

Such features compensate for a much less satisfactory view of the Piano Concerto. This gets off to a peremptory start and, despite some nifty voicing here and there, continues in an essentially prosaic, throwaway fashion. Happier bouncing through the finale’s whirling figurations, Katsaris still offers little more than a token glance at Schumann’s poetry; his heart simply isn’t in the matter. And with performances in the catalogue by the likes of Kempff, with his inimitable play of light and shade, or Argerich, with her fire-and-ice virtuosity, this is hardly competitive. The Japan Philharmonic Orchestra give faithful but similarly disengaged support. The rarities are the thing, and all these well-recorded performances are taken from live concerts greeted with vociferous applause.