Nikita Lukinov, a young Russian pianist who teaches at the Royal Conservatoire of Scotland, has chosen an all-Russian programme for his debut recording.

Though the piano pieces of Tchaikovsky’s Op 72 are contemporaneous with the Pathétique Symphony, their closest cousin may be the ballet. The delicately dreamy ‘Berceuse’ displays Lukinov’s ample varieties of touch in an atmosphere of languid chromaticism. A vivid sense of dialogue emerges from ‘Tender Reproaches’, along with a feeling that this quarrel may not be so gentle. Rather than contemplative repose, ‘Méditation’ suggests arrival at a momentous decision. The antic ‘Valse a cinq temps’ could be a comic entr’acte with vivid staccatos and accents, while ‘Dialogue’ conjures the mutual declaration of two lovers.

Lukinov avoids the overripe fulsomeness and lack of direction that can mar less clear-eyed Scriabin interpretations. Every detail of the two Poèmes supports and enhances the overall expressive intent: voluptuousness in the first and bitter conflict in the second. The Op 38 Valse is all freshness and ardour, with a piquant dash of capriciousness.

If the Tchaikovsky pieces are redolent of the ballet, Prokofiev’s own transcriptions from his 1944 Cinderella are the real deal. Happily, Lukinov’s interpretations are informed throughout by what could be danced. Most striking is the way they build to a mighty climax of pianistic splendour in the Amoroso, in a performance of breathtaking beauty.

Lukinov turns 25 this year. His publicity materials modestly describe him as a ‘disciple of the Russian School’, but one might confidently replace ‘disciple’ with ‘embodiment’. He exhibits many of the attributes of that association, among them extraordinary technical polish, rhythmic acumen and a strong musical point of view. Yet in Lukinov’s case, one must factor in the extraordinary breadth and freedom of his imagination. With his performances already a tremendous pleasure to experience, one is left wondering what form his gifts will take as he matures.