The first thing that strikes you about Denise Djokic is her sound. It’s plush and beautifully moulded. She’s at her best in the soulful elements of these two sonatas – the second idea in the finale of the Rachmaninov, for instance, where she duets with pianist David Jalbert very effectively. However, the further you delve into these readings, the more the suspicion grows that what’s missing is any great insight into the music on offer. She plays Rachmaninov’s Vocalise very prettily but the emotions it stirs up are never any more profound than that. The swellings and subsidings and placing of rubato are predictable, without any great sense of a strong musical persona coming through.

In the first movement of the Chopin they include the repeat, which tends to be a bad idea, making it very distended – at over 15 minutes it’s longer than the rest of the sonata combined. Osborne and Gerhardt (who also include it) find far more light and shade here. And compare Gerhardt even briefly to Djokic and you’re in a different league in terms of colour and subtle application of vibrato. In the Scherzo both protagonists on the new disc are more earthy and more earthbound than Gerhardt and Osborne, and generally Jalbert is more foursquare than Osborne, particularly in the filigree writing that abounds in the finale.

In the Rachmaninov similar reservations apply: there’s a generalised beauty of sound but there’s so much more to this music, as Maisky and Tiempo vividly demonstrate. And if that version is too overwrought for your ears, then Rostropovich or Isserlis are, in their different ways, still extraordinarily persuasive advocates.