Lyapunov’s two piano concertos stand among the many pleasant foothills in the mountain range of the Russian tradition. Although written at the age of 30, the first (1890) is only his Op 4, and in its alternation of dreamy and runabout moods, and frank imitations of Chopin, Liszt and Balakirev, it sounds very much like the work of an eager student. Nearly 20 years later, Lyapunov was more adept in stitching together his ideas, which now have more breadth and flow, if hardly any more individuality. Once again, just as the music seems to be gathering speed for lift-off, it is weighed down by academic cliché, and the piano-writing itself palls mightily beside the likes of Rachmaninov.

Both works could justly have been entitled rhapsodies, without misrepresenting their structure or expressive horizons. Composed in 1907, the Rhapsody on Ukrainian Themes itself is probably the most enjoyable – because least pretentious – music on the disc and is certainly worth a hearing, if only to discover where Rachmaninov may well have found the main first movement theme for his Third Piano Concerto two years later. In short, this is excellent fare for background listening and for filling gaps in one’s knowledge.

Moscow-born Shorena Tsintsabadze gives direct, well-schooled accounts of all three works, playing them for what they are worth but not more. In the same coupling Hamish Milne and the BBC Scottish display a good deal more finesse and élan, and for my money the extra layout is easily worth it. But the newcomer is perfectly serviceable.