Judging from this 2009 Wigmore Hall recital, the decisive and absorbing interpretative profile that Nelson Goerner brought to his 1997 EMI Debut Chopin release (8/97) remains intact, if a little softer around the edges. For example, the Polonaise-fantaisie’s lyrical central section emerges slower and more liberally pedalled here, while the first theme is curvaceously phrased in contrast to its relatively tauter EMI counterpart.

The Op 62 Nocturnes are characterised by freedom, flexibility and more than a few “old school” instances of the left hand anticipating the right. On the other hand, Goerner strums his way through the Grande Polonaise, speeding up and slowing down to vague purpose, and never quite defining a true basic pulse. Goerner’s super-suave technique and innate musicality fuse better in the Op 10 Etudes. You don’t notice No 1’s effortless right-hand extensions so much as the shapely left-hand cantus firmus. No 2’s difficult chromatic runs are as supple, light and even as they should be, while Nos 4, 5, 8, 9 and 10 stand out for both bravura and subtle textural shifts. Much as I like Goerner’s fleet alla breve conception of No 6, the organ-like basses could stand a little more beef on their bones. Chalk up No 7’s breezy right-hand double notes and perky left-hand accents to a less manic approximation of Ignaz Friedman’s incredible old recording. While many pianists understandably resort to the sustain pedal to get through the Revolutionary Etude’s taxing left-hand arpeggios, Goerner largely projects a powerful, singing legato through fingerwork and hand position.

There are two encores: an amorphous Rachmaninov G major Prelude (pretty on the surface, but I miss Horowitz’s three-dimensional, necromantic sound world) and a big-boned yet well groomed Chopin D minor Prelude. The recorded sound conveys an overly resonant concert-hall realism that typifies most Wigmore Hall Live solo piano releases.