I turned to the film of the “complete concert” rather than the CD on which the music is less convincingly ordered and which omits two Nocturnes; there was space enough to include them had EMI further curtailed the applause as they have, for example, after the Sonata’s first movement. That said, the sequence of five Nocturnes offers a matter-of-fact starting-point. Disconcertingly, Yundi leaves the stage after the very first one – at least, that is how it appears in the edit – before resuming. The group of four Mazurkas that follows is hardly more enchanting (try Op 33 No 2) with over-cooked rubato and Yundi’s insistence on playing to the back of the hall instead of beguiling the audience into his confidence.

At last some tonal finesse appears in the Andante spianato, and there is no denying the pianist’s technical adroitness in the Grande polonaise (“my signature piece”, so the booklet reveals). The Sonata, with a first-movement doppio movimento repeat, is work-in-progress. The inevitable A flat Polonaise prompts a predictably enthusiastic ovation to which are added a charming but incongruous little Chinese trifle and the “Revolutionary” Etude. Out of interest, I dig out Raoul Koczalski’s 1939 Polydor recording of this piece. Here was light, shade, story-telling – and an altogether different world.