Polina Osetinskaya imbues each of this disc’s Bach and Scarlatti selections with a full-bodied sonority built from the bottom up, clear and flawless articulation at every level, and an earnest demeanour. You’ll rarely hear the Scarlatti Kk141 D minor Sonata’s repeated notes dispatched with such honest uniformity, but, then again, you won’t hear anything of Martha Argerich’s added playfulness and sheer abandon. Similarly, Kk98’s double notes may not be the lightest of the litter but they are focused beyond belief.

Yet Osetinskaya labours Kk377’s down-beats, while her sectional ritards cause the introspective B minor Kk87 to ramble, as opposed to the far shapelier flexibility of Vladimir Horowitz’s 1980s performances. Conversely, Osetinskaya’s like-minded approach to the D minor Kk32 yields palpable melodic tension and release. In the collection’s lone non-hyphenated Bach selection, the Italian Concerto, Osetinskaya fares best while displaying her superb finger legato in the slow movement, although the finale’s emphatic accentuations and dynamic contrivances impede forward momentum.

Wilhelm Kempff’s Bach transcriptions are generally thicker and more bass-orientated than Busoni’s counterparts, and suit Osetinskaya’s pianism well. In Nun komm, der Heiden Heiland and Wachet auf, for example, she avoids certain pianists’ tendency to slow down as the music progresses. But her solemnly measured rendition of the Siciliano lacks the buoyancy distinguishing Kempff’s less-pedalled traversal, not to mention the classic Dinu Lipatti recording. She does not convey Alexandre Tharaud’s Bach BWV596 Largo transcription with the suppleness heard in the transcriber’s own recording. The Bach/Egon Petri Sheep may safely graze receives a mellifluous yet ponderous treatment that contrasts to Leon Fleisher’s winged transparency. On the whole, a uniform timbral and emotional aura prevails over a potentially diverse array of compositions, and, as such, it’s best to sample this collection in small doses.