Lovchinsky, Russian-born (1984) and living in the States since 1994, proves in this debut recording to be the real deal and, though someone should have a quiet word with him about his wardrobe for photo-shoots, has the kind of poetic insight and technique that could make an important career. His touch and style remind me of Steven Osborne, with whom he shares a love of jazz and improvisation.

After three contrasted Mazurkas, which Lovchinsky presents as little self-contained stories, comes one of the most inspired performances of the Polonaise-Fantaisie I have heard. His subtle asynchronisations in the central B major section, tonal colouring (as much an advertisement for Lovchinsky as for the Shigeru Kawai he plays), phrasing and subtle highlighting of contrapuntal voices contribute to an outstanding account, one which makes this problematic piece sound entirely spontaneous.

Three Scriabin sonatas form the centrepiece of the programme. Urgent tempi sometimes lead to a slight loss of detail (turn to Hamelin and Sudbin for, respectively, ultra-refinement and heightened emotional intensity) but Lovchinsky is a compelling communicator with a complete grasp of the ecstatic and mystic elements of Scriabin’s idiom.

The abrupt final run of the Fifth Sonata leads cleverly into the first of Earl Wild’s “obscenely difficult” (Lovchinsky) Seven Etudes. While the Master is incomparably nonchalant, there is little to choose between their respective versions for pure pianistic joie de vivre. Wild clearly approves of Lovchinsky’s mastery of them by allowing this star of the future to make a first recording on his own label.