Shani Diluka is a young pianist with a lot to say. She coaxes a beautiful sound from her Bechstein, spinning a lustrously beautiful thread through the Adagio of the B flat major Concerto. With a truly first-rate orchestra the results would have been very notable; the Orchestre National Bordeaux Aquitaine, under the sensitive direction of Kwamé Ryan, is clearly a fine regional ensemble – it just doesn’t quite match the string tone or characterful wind-playing of the greatest. But there is much to admire: in the first movement of the B flat Concerto Diluka takes a notably Mozartian approach, which works wonderfully under her nimble fingers, even if the cadenza (she chooses Kempff’s throughout in homage to an artist she clearly reveres) comes as a bit of a surprise, rising up from the depths as it does.

It’s in the C major Concerto that her approach is less convincing. Is it possible for a performance to have too many ideas? In the finale, for instance, she doesn’t miss an opportunity for an accent or a dynamic detail. It becomes a bit unstable as a result and ultimately there’s a lack of a coherent vision. Listening to Lewis and Uchida, by comparison, there’s a terrific sense of the music unfolding ineluctably; the detail never gets in the way of the narrative. Diluka’s resumé mentions Martha Argerich and there is perhaps a touch of the great Argentinian’s highly reactive, febrile approach to the music in this reading – but as we all know, she’s no more imitable than Glenn Gould. Shani Diluka, though, is clearly an artist to watch and her sense of individuality is refreshing.