Great, I thought: Nelson Goerner playing the Paderewski concerto – that should be a magnificent match. It’s still an underrated piece, despite the advocacy of Earl Wild and the fact that it was used to launch Hyperion’s wondrous Romantic Piano Concerto series a quarter of a century ago.

Goerner is a degree or two faster in his tempi than Lane – perhaps not surprisingly given it’s live – and the latter’s piano can sound a touch tired at the upper extremities. However, this new version pales in comparison with Hyperion’s for one simple reason: the Polish National Radio Symphony Orchestra under Jacek Kaspszyk simply aren’t up to it and the moments of imprecision and iffy tuning are legion. (Just sample tr 1, from 3'47", but I could go on). The piano is also unnaturally prominent in the mix, though to be honest that’s something of a blessing – the most convincing moments are those where Goerner is left to his own devices.

He is, for instance, soulful in the luscious slow movement, which proceeds at a slightly faster gait than Lane’s. But the vibrato-heavy flute is a major distraction (so is the percussive crash at 8'21"), though there is some nice duetting with the oboist and the solo lead violin. However, the opening of the finale isn’t together and the daredevil tempo set up by Goerner is too much for the orchestra (sample tr 3, 5'34"). Stick to Lane/Maksymiuk, even if their tempo in the finale is a touch steady.

Giuseppe Martucci was born the year Schumann died, and died in 1909, just as Schoenberg was experimenting with atonality in his Three Piano Pieces, Op 11. Anton Rubinstein and Eugen d’Albert were both admirers of his Second Piano Concerto, written a couple of years before Paderewski’s. It has been described as Brahmsian yet strikes me as being more akin to Tchaikovsky’s First, in the same key. It has fallen into terrible neglect, and Goerner – this time with Sinfonia Varsovia – clearly believes in it.

The piano’s initial peroration is given with total authority and the considerable demands made on the soloist, who gets very little time off, are met with total confidence. If all seems initially calmer in the slow movement, which is launched with a rapturous melody for the pianist and some effective duetting with horn, the mood doesn’t last, the music building up to dramatic passagework bristling with double octaves. If the first two movements demanded strength, the finale is a playful Allegro requiring considerable dexterity from the tireless soloist.

The orchestral playing is cleaner here, but still not exactly of the first rank, and again there are moments of splashiness (some of them at key points, the climax in the slow movement at 4'55", for instance, or the two chords that end the work), while in the fugato writing in the finale (from 3'25") the players seem to be caught napping. A pity: Goerner deserves much better.