It’s an enticing idea – juxtaposing modern piano classics with improvisations which, drawing on their styles and techniques, anticipate or reflect them. The follow-through of pieces – how they relate to each other – is crucial, and this Leon Michener maintains admirably. The easy-going ‘stride’ pianism of Azoth and brittle vitality of Argent Vive ideally complement the Ives and Xenakis pieces framing them, with Nestis – a suite-like compendium of improvisational techniques – the fulcrum around which the whole recital revolves. Cage’s study in meditative sonorities is echoed by the modally-tinged improvisations which follow – while, after the quizzical brevity of Sol, two harmonically reductive improvisations lead inevitably to Scelsi’s other-worldly study in keyboard resonance – in which sound finally gives up the struggle against silence.

Overall, an innovative and absorbing concept, carried through by Michener with no mean insight and technical finish. Not that this would be a disc to acquire if the composed pieces are your main interest. Indeed, it’s not hard to hear how much more of the respective idioms is brought out by the listed comparisons, especially the stylistic mélange of Study No 20 (here oddly uniform in effect) and the dynamic and textural extremes of Herma (lacking the ‘inexorable drive’ of which Michener speaks). But then to play up the degree of composer ‘presence’ would arguably run counter to the intended spirit of the enterprise. Clearly recorded, if a little monochrome, and with detailed notes to guide you through the programme, his recital blurs the distinction between improvisation and interpretation in understated but intriguing ways. Worth investigating.