Weighed against the great orchestral scores, Stravinsky’s works for solo piano form a minor part of his output. Few works beyond the Three Dances from Petrushka are heard at all frequently and discs entirely devoted to his smaller-scale keyboard works are comparatively rare (I have not heard Martin Jones’s highly praised 1996 two-CD survey on Nimbus, nor Giacomo Franci’s 2012 Fonè disc of almost the entire solo works).

Lin demonstrates triumphantly what we – and, not incidentally, her fellow pianists – encounter too infrequently. Stravinsky may have regarded the piano primarily as a percussion instrument but in the early works he has not moved on that far from Mussorgsky, his teacher Rimsky-Korsakov and, in the Four Etudes (1908), Scriabin. It is the complex polyrhythms of the latter work that present the greatest problem for the performer. Lin brings an incisive brilliance to these little masterpieces, as she does to the outer movements of the 1924 Sonata. In the same vein, the four-movement 1925 Serenade, inspired by dance forms, deserves to be better known – ‘gentle neo-classicism with a wink’ (Ben Finane in his excellent booklet).

Ragtime is heard in the composer’s own transcription (great fun), wittily characterised by Lin, like the other short works here. She concludes with a blazing performance of Guido Agosti’s cripplingly difficult 1928 transcription of three movements from The Firebird. Another superbly recorded Steinway disc, and another notable achievement from this gifted and imaginative artist.