In many cases, only a few seconds’ difference distinguish the timings of the variations on these two sets of Bach’s Goldberg Variations but a deeply inner sense of expansiveness in Steven Devine’s interpretation makes his performance the more expressive and satisfying. Even when Devine’s tempi are roughly the same as those chosen by Polish harpsichordist Alina Ratkowska, Devine gives the impression of always having the room he needs to allow the music, its ornamentation and its sometimes devilish figuration to breath comfortably. Though not so stately and sedate as Gustav Leonhardt or as viscerally brilliant as Pierre Hantaï, Devine has the technique, the imagination and the mastery of period style to give a thoroughly satisfying performance.

By contrast, Ratkowska, performing on a brighter and glassier instrument, tends to push things forward, with steadier but also more manic tempi; the result is a recording that feels not quite fully realised, with details unfocused and some variations not quite digested. Her technique is solid but faster variations can feel crabbed and awkward. In her fast but not lithe playing of the delicate chasing lines of Var 17, one misses Devine’s clarity, his acute use of small agogic details, his clear phrase shapes. In the Adagio, Var 25, Devine is more nuanced, sculpting the melodic figures over an occasionally rolled or slightly staggered accompaniment, which helps thin and vary the texture. Ratkowska’s reading of the Adagio is full minute faster than Devine’s but feels more dragged out. And while Ratkowska musters a big sound in the Ouverture, Var 16, Devine’s is grander, statelier and ultimately more Gallic in its pomp.

Illusionism is the key to the harpsichord and, while Devine’s double-manual instrument is warmer across its various registration possibilities, he manages to create a more turbulent and brassy sound in the shaking chord figures of Var 29. Perhaps he pushes the rhythmic accentuation in the previous variation to the point that some listeners will find mannered. But again, it is in the interests of transparency.

This is crowded territory and only getting more crowded. Mere virtuosity, among harpsichordists, is no longer adequate. Devine’s reading is worthy of consideration alongside other distinguished recent traversals, including that of Richard Egarr.