The Japanese pianist Aimi Kobayashi, now 26, released her debut recording over a decade ago. She was a finalist in the 17th International Chopin Competition, entered again in the recent 18th and was placed equal fourth. Her third-round performance of the complete Preludes was widely and rightly praised, garnering her considerable online support.

Kobayashi’s recording of Op 28 is, unsurprisingly, not so wildly different in approach and execution, cool, sparsely pedalled and with an engaging aura of introspection (Nos 3 in G and 7 in A are fine early examples). No 4 in E minor (better in Warsaw than here) and No 6 in B minor suffer from the fractional splitting of right and left hand – a minor irritation – with well-judged rubato in No 9, beautiful cantabile in No 10 and a delightfully deft light touch in No 12 (G sharp minor). And so it continues: a moving ‘Raindrop’, a fiery No 16 without any pause for breath, No 18 sounding genuinely like an improvisation, until you feel (almost but not quite) that these Preludes are intended to be played as a cycle.

Kobayashi follows Op 28 with that strange single Prelude Op 45 and the charming little Op posth A flat Prelude of 1834 (not published till 1918). The late Polonaise-fantaisie is played with a great deal of sophistication and variety of touch and tone, though its rambling structure does not respond well to the languid pace she adopts for the middle section. The album ends with a Fantaisie-impromptu in a performance as lovely as I can remember – not a finger-fest whirlwind for the first subject (and its repeat) and with the trio gratefully unsentimental.

Here is a fine, sensitive pianist with a strong technique and a solemn, intense stage presence. Whether her playing has that indefinable quality and sufficient individuality to make an exceptional career remains to be seen.