A Ravel and Gershwin coupling is now as ubiquitous as a Grieg and Schumann. The Stravinsky, though, is a comparative rarity on disc. It makes an apt companion, being composed exactly midway between the Gershwin (1925) and the Ravel (1932), and exhibiting many similar characteristics (three movements, jazz elements, tonal, playful, highly pianistic). It also owes something to the influence of Tchaikovsky (it was composed directly after the ballet The Fairy’s Kiss, based on works by his idol) and, perhaps surprisingly, Mendelssohn and Weber, “the two Beau Brummels of music”, as Stravinsky described them. Canadian Ian Parker has just the right deft touch and insouciance to show this most entertaining of the composer’s works in its best light, especially the last movement, redolent of some vaudeville routine.

When it comes to the Ravel and Gershwin, Parker is up against stiff competition and, accomplished though he may be, is outshone by others, not least Jean-Efflam Bavouzet in his fabulous new recording of the Ravel, which knocks all others into a cocked hat. Parker is not helped by a strangely subdued LSO. The Ravel starts off badly, with the piccolo’s statement of the main theme almost inaudible against the piano; the woodwind and brass are uncharacteristically tame, while the mere second’s gap between the end of the slow movement and the Presto must surely be an oversight. This and the Gershwin give the impression of three hard days’ slog in Abbey Road with tea breaks more than usually welcome.