So all-embracing was Chopin’s influence on piano composition that few composers writing in the idiom (rather than that of Schumann, say, or Brahms) were able to avoid comparison with him. Most of those who followed too closely in his footsteps fell by the wayside, mainly with good reason. The six composers represented here, all closely associated with Chopin during his lifetime, were, with few exceptions, unable to produce anything more than convincing pastiches of the Polish master. All six are lucky to have Cyprien Katsaris as their champion. His understanding of the idiom, beautiful singing tone (a masterclass for all pianists) and total belief in the material almost convince you that they wrote first class music.

While there may be no lost masterpieces here, there is much to enjoy, with disc 1 (45'10") having the lion’s share of the best works. Things get off to a splendid start with three works by Adolf Gutmann (1819 82), whose lovely Nocturne in A flat was immensely popular for a time (anyone would mistake it for a previously unknown example by Chopin) and well merits its revival. On the other hand, Le tourbillon, galop brillant, which follows, could never be mistaken for Chopin, a bit of salon merriment and great fun, which Katsaris exploits to the full.

For this reviewer, the most intriguing works are three by the tragically short-lived wunderkind Carl Filtsch (1830 45), said to be Chopin’s most talented pupil. His posthumously published Das Lebewohl von Venedig (surely so named by the publisher after Filtsch’s untimely demise from a heart attack in Venice) is a touching C minor elegy. It precedes a short Chopinesque Barcarolle and a Mazurka, interesting enough to make one keen to hear his Konzertstück for piano and orchestra. Of more significance than Karol Mikuli’s two Mazurkas is the selection of eight of the 48 Romanian Melodies he collected and transcribed, ranging in length from 0'45" to 3'36".

Disc 2 (41'23") is notably less rewarding. Two works by Julian Fontana (1810 69) and six by Mathilde de Rothschild (1832-1924) do not leave one wishing they lasted longer or craving further examples. And for my taste, only the Nocturnes in E flat and G flat of the seven pieces by Thomas Tellefsen make much of an impression. Still, if nothing else, this superbly recorded programme from the ever-enterprising Katsaris only serves to demonstrate why Chopin is hailed as a genius and these six composers are not.