This new version is very different. Working with less starry, though clearly highly accomplished partners, Kremer is now much more in charge. But the emotional temperature is lower and the overall effect far less compelling. Perhaps fearful of over-statement, the pianist actually defers rather too much to her partners, and her solos are pale in tone and over-nuanced rhythmically. As a result the structural flow is repeatedly and seriously undermined, and Tchaikovsky’s grand-scale design emerges as a series of more or less mannered salon-like episodes (some of them, such as the fast-forward account of the music-box variation in the second movement, hard to defend).

One hearing is also more than enough, I feel, for Victor Kissine’s recent Zerkalo (The Mirror), whose belated blend of Schnittke and George Crumb spreads its substance thinly over 20 minutes. Recording quality that bathes the stage in reverberation only makes matters worse.