What immediately strikes you about this recording is not the execution of the familiar opening pages of the Tchaikovsky but the unfamiliar sound picture. Instead of the usual spacious acoustic of an empty concert hall, we have the smaller, clear focus of Prague’s CNCO Studio 1 and, as if to complement it, a Steinway Model C, beautifully voiced (and recorded) but a full 18 inches smaller than the conventional Model D. Without reducing the drama of the music, it allows the detail of this symphonic score to be heard with almost chamber-like lucidity, aided by the finely judged balance between the Czech players and the talented Stewart Goodyear.

Everything from this young Canadian is skilfully enunciated with unobtrusive, conversational phrasing (he and Bogunia appear to be on good terms) and sparingly pedalled, no better illustrated than by the prestissimo section of the second movement, presented not as a bravura babble but as a coherent, deftly articulated narrative. It may not be a Tchaik First to set the pulse racing (Argerich, Richter, Horowitz, Matsuev) but, to mix sporting metaphors, it’s a high-octane performance that punches above its weight.

As does the Grieg, another reading that transcends the bounds of the studio. In fact, I’d put the finale up among the best (Lipatti, Andsnes, de Greef), with Goodyear and Bogunia bringing a delightful, light-footed buoyancy to the dance theme and wringing the most from the concerto’s glorious peroration. Here and in the Tchaikovsky, mirabile dictu, the piano is not overwhelmed by the orchestra but ends the contest on equal terms. Goodyear clearly has a big future.