Armenian-born but Italian-based pianist Diana Gabrielyan presents an intriguing recital of works by four 20th-century composers ‘whose music has almost nothing in common’. She opens with the second of Stravinsky’s sonatas (he failed to acknowledge the existence of his ripely Romantic first), delighting in its neo-classical chic. And if her performance is less spiky than some, it is more musicianly than many. She is gently coaxing in the Adagietto’s central enigma before ending with a necessarily more edgy bravura in the finale. Piano Rag Music concludes with a tango, grumpy and insistent rather than erotic, its conventional dance measures viewed, as it were, through a mischievous distorting mirror.

I would have wished for a greater sense of self-conscious grotesquerie in Shostakovich’s First Sonata, a more high octane intensity in the corkscrewing virtuosity of its final pages. Then there are three pieces by Babajanyan, pale if accessible tributes to Armenian folk melody, described by the booklet-note writer as having ‘very fine tunes, simple and catchy’. This is true of the Dance of Vagharshapat, which would make for an attractive surprise encore. Babajanyan’s Six Pictures show an advance in musical language but there is too little individuality or character. Finally, Tigran Mansurian’s Three Pieces (1970), where the influence of Schoenberg predominates: fascinating splinters of sound, refined, though less spirited than claimed. Odradek admirably reflects performances that are fleet and elegantly proportioned.