This lovingly chosen recital – striking in both choice and performance – celebrates dance and song, key aspects of music down the centuries. Less robust or outgoing than many others, Tom Poster makes a haunting virtue of inwardness and refinement. His sound is warm and beguiling (Shura Cherkassky’s lament that too few pianists care about sound could never be levelled at him). His velvet-tipped sonority, his colour and nuance make something very special of the Gluck-Sgambati ‘Dance of the Blessed Spirits’ and Ravel’s Pavane, while in Schubert’s G flat Impromptu his fluidity and balance between vocal line and rippling accompaniment are exceptional virtues.

Again, in Chopin’s Polonaise-fantaisie, Poster sinks gratefully into repose and reverie (though his turn of speed in the build-up to the final climax finds him relishing one of Chopin’s most exultant gestures). He is sensitive to Grieg’s sophistication of simple folk beginnings in three of the Slåtter, reminding me for the second time in one month that these are arguably the composer’s finest creations, and further, a strong influence on Bartók. Highly sensitive to Kurtág’s assertion that ‘it is possible to create music with practically nothing’, he is hardly less successful where the virtuoso stakes are high (subtly so in Ravel’s ‘Ondine’, aggressively so in the third movement of Stravinsky’s Petrushka), though even here Poster tells us that discretion can be the better part of valour. He ends with his own transcription of Gershwin’s ‘Someone to watch over me’ where, once again, he could hardly be more inward or empathetic. Poster writes his own excellent notes and Champs Hill’s sound is both warm and natural.