This intriguingly varied recital takes its title from ‘Harmonies du soir’, grandest and most expansive of Liszt’s 12 Transcendental Etudes. And it is both here and in the vast spans of ‘Vallée d’Obermann’ (from the Swiss book of the Années de pèlerinages) that Tonya Lemoh (Australian-born but now based in Denmark) makes her truest mark, showing an empathy that eludes her in her many more intimate offerings. She is bold and assertive in ‘Vallée d’Obermann’ rather than lost in gloomy contemplation. Anxious to keep everything on the move, she modifies Liszt’s lento direction, banishing all sense of Byronic longueurs. How she revels, too, in the central Alpine storm, making thunder and lightning flash across the keyboard.

In Granados’s ‘The Maiden and the Nightingale’ and in two of the magical Escenas románticas, she is also rewarding. But in Brahms’s Op 117 Intermezzos she is too generalised, too lacking in colour and inflection to suggest their crepuscular magic. Bypassing terms such as piano and dolce or sotto voce, she fails to read between the lines and one only has to turn to Radu Lupu (admittedly a cruel comparison) for a radically different poetic experience. In Liszt’s Consolations Nos 3 and 4 I wished for something altogether more rapt and inward. Danacord’s sound is exemplary.