No less than eight of these 10 transcriptions are world premiere recordings. One suspects Beethoven might have had a sense of humour bypass over Stephen Heller’s 33 Schumannesque variations (17'39") on the theme of the 32 Variations in C minor with its cheeky quotes from the Fifth Symphony and Waldstein Sonata. As entertainingly anachronistic is Kalkbrenner’s Fantasia on the spurious Sehnsuchtwaltz, WoO14/1, as it is listed in the Kinsky catalogue. Less vapid than some of Kalkbrenner’s note-spinners, it is a most effective piece (8'20"), well worthy of being revived. Isidor Seiss (1840-1905) manages to combine in his three freely transcribed German Dances most of the themes from Beethoven’s 12 German Dances, Raff offers a resourceful adaptation of the Romance No 1 for violin and orchestra, Friedman a Godowskian treatment of the Ecossaises.

The most significant works here, though, are the four Tausig transcriptions of string quartet movements (he published two others from Opp 131 and 135), as respectful as they are ingenious. The Scherzo from Op 59 No 2 and, perhaps more surprisingly, the Cavatina from Op 130 (which also attracted Alkan’s attention) strike me as particularly successful. Someday, someone will give Tausig the attention he is due and record everything he wrote.

I enjoyed Ms Malan’s “Transfigured Mozart”, despite some reservations about her tone production. I enjoyed even more this equally imaginative programme, one in which the panache and infectious high spirits she brings to the more extrovert pieces are matched by her sensitive handling of some long-breathed transfigured string solos.