There is enough virtuosity here from the latest young pianist championed by the redoubtable Martha Argerich to keep you on the edge of your seat. But behind Polina Leschenko’s effortless dexterity is a high degree of sensibility, and she commands good reserves of power without bashing the keyboard. She doesn’t indulge in meretricious flights of self-display, either. On the contrary, her playing of Liszt’s Rapsodie espagnole is remarkably dignified while the Paganini Etude is equally remarkable in its combination of both steely precision and delicacy.

Leschenko is able to take technical challenges in her stride without having to strive for control. It is therefore strange that she isn’t entirely comfortable with Brahms’s Paganini Variations Book 2, lurching over sections in Variations 1 and 7 and losing composure in Variations 3 and 9. But the feroce Variation 10 isn’t crude, and Variation 12 is indeed dolce espressivo, a quality that is heard again in Bach’s Largo, where through wise use of the pedal she conjures an atmosphere of reverence as well.

The Kreisler/Rachmaninov Liebesleid and Chopin’s Andante spianato offer examples of a sharply honed sense of rhythm that allows phrases to expand and contract freely without suggestions of wilful manipulation.

Piano tone is a little hollow but it doesn’t stand in the way of communicating Leschenko’s considerable talents. Nor does it obscure her flaws, one of which is that she sometimes pays insufficient attention to inner voices. Well, you can’t expect everything from a 23-year-old, but this one has the makings of a major artist.