If we have to have yet another recording of Gershwin’s Piano Concerto, there are things to admire in this one. Orion Weiss never engages in the kind of exaggeration which some pianists have used to define their identity and his dry rhythmic delivery is thoroughly idiomatic. It’s odd that the first bass note under the opening solo doesn’t sound; but the long sweep of heterogeneous material in the first movement is convincingly sustained.

In the Adagio the trumpet solo is rather square and certainly too loud but Weiss is perky and dry in the faster middle section. He is slightly slower than Donohoe and Rattle in the last movement – I have often used their recording as a benchmark – but the orchestra serves him well, with a fulsome tam-tam just before the last climax, not an apologetic ping as in some recordings.

The drably titled Second Rhapsody has always had a tough time competing with the massive popularity of the Rhapsody in Blue. But it is exploratory Gershwin as he moves towards Porgy and Bess, with greater harmonic resource, vivid orchestration and better continuity, even if the tunes are more elusive. In the I got rhythm Variations, at times a hilarious candyfloss, taken from the musical Girl Crazy, Gershwin’s imitation of out-of-tune Chinese flutes in the piano part feels slightly condescending in today’s embrace of world music – but he meant well. All these pieces get snappy performances in well-balanced, clear recordings: an enjoyable collection.