Particularly successful is her selection from Hindemith’s In einer Nacht, which ranges in mood from spare and almost unmoving to sharply satirical, Yang’s fingery technique making light work of the treacherous Nos 6 and 8. From there we’re straight into Bartók’s Out of Doors. Technically again she’s impressive. But what her reading lacks is a degree of characterisation: the ‘Barcarolla’ lacks the tension Kocsis finds because it’s too slow, while the Hungarian finds much greater unrest in ‘Musettes’. Yang’s final ‘Chase’ is tame indeed.

And by this time it’s possible to trace a tendency in Yang’s playing to play the slower music too slowly. ‘Des Abends’ and ‘Fabel’ in Schumann’s Fantasiestücke are cases in point: Argerich or Hamelin inject much greater spontaneity into their readings. But the biggest caveats with this disc arise, unfortunately, with the main work, Rachmaninov’s Second Sonata, played in its shorter revised version. Its opening loses that vital sense of inevitability, largely because Yang peppers it with rubato. I missed the robustness of Kocsis, the rhetoric of Sudbin, the life-or-death ardour of Horowitz. Yang’s finale again lacks tumult. It’s not simply about tempo: listen to Trp∂eski, who certainly isn’t Speedy Gonzales, to hear how his tauter phrasing gives the movement real drive.