Judging by this disc, 2010 Gilmore Artist Kirill Gerstein appears to be as intelligent, accomplished and sensitive a virtuoso as fellow prize-winners of the past, such as Leif Ove Andsnes and Piotr Anderszewski. He holds attention throughout his world-premiere recording of Oliver Knussen’s Ophelia’s Last Dance by differentiating the composer’s almost impressionistic melodic and accompanimental components with a wide scope of dynamics and colours, jabbing the solitary sforzando high notes with stinging impact.

His clean, well-thought-out and thoroughly poised performances of the large-scale Schumann and Liszt selections prove more vulnerable to catalogue competition, although they’re never less than world-class. The Humoreske’s unquiet undercurrents and harmonic tensions are often smoothed out by Gerstein’s tendency to round off phrases and impose slight ritards at predictable junctures. By contrast, sections where expressive intensification would be most welcome (the one marked Einfach und zart) are reserved to a fault.

Still, many pianists would be glad to claim Gerstein’s superb control, cultivation and taste, which make themselves felt in Liszt’s B minor Sonata. Gerstein’s ability to sustain quiet music at slow tempi creates an appropriately rapt aura throughout the Andante sostenuto, while the section leading into the recapitulation build-up is fortified by his emphasis on bass-lines. Moreover, Gerstein justifies his rhetorical phrase broadenings with plenty of dynamism and full-bodied tonal projection. But don’t expect the kinetic, headlong brio of Argerich, Fleisher, Berezovsky or even Gerstein himself, when he really lets go in concert, away from the microphone’s scrutiny. What will this interesting pianist serve up next?