Concerto, soloist and record label are all shown in a rather unflattering light by this strange enterprise. So many elements combine to make this acomplete no-no that you wonder what sort of world the owners of the label inhabit. From the outset, we are aware that the balance between soloist and orchestra is way out of kilter, with no aural perspective of the two protagonists. The orchestra’s restatement of the opening theme is really quite important. Here it is drowned by the clatter of Bruno-Leonardo Gelber’s unpleasantly percussive instrument, recorded full on. When, in addition, the pianist decides to bash his way through, it makes for an irksome experience.

So it continues, with important and/or beautiful moments of this wonderful score distorted, ignored or badly executed. Listen to the (normally) lovely passage of woodwind interplay with the soloist in the latter part of the Intermezzo, or just those (normally) six heart-breaking homesick bars before the headlong rush towards the conclusion. It would be a pity if someone’s first experience of hearing Rach 3 were this recording.

TransArt Live’s booklet sets out the label’s raison d’être to allow ‘the artist to establish the precious communication with the auditor’ in live recordings that are ‘able to phase out parasite interferences’. Laudable aims and sentiments despite the mangling of my mother tongue. But let’s exercise some musical quality control in the process. Not every live concert that is recorded in good faith turns out to be worthy to put on disc. At least have the decency to offer some value for money. 41’17”? Come off it.