Don’t believe this recital’s ‘Bach to the Future’ title, for Sabine Weyer’s full-throated and colourful pianism is decidedly ‘old school’. That said, her interpretations are uneven. Weyer foursquarely treads through the four Bach-Busoni chorale prelude transcriptions, with heavy accents to spare. One can predict the sectional ritards throughout the C minor French Suite’s opening Allemande, while vague articulation of ornaments occasionally throws the Courante’s steady pulse out of kilter.

Weyer’s tone beautifully comes into focus in the Sarabande, although her basic tempo slackens as the music unfolds. While she plays the Air and Menuet quite well technically, Weyer’s right hand dominates and her left hand stays parked in neutral. You’ll hear what’s missing in Weyer’s Gigue if you compare her generalised execution alongside Murray Perahia’s sharp pointing of the dotted rhythms (DG, 11/16).

For the most part, everything comes together in the Bach/Siloti selections. Meyer’s arpeggiated chords in the Siciliano are bewitchingly variegated, while her fast and fluent pacing for the B minor Prelude contrasts with Alexis Weissenberg’s icy protraction (EMI/Warner). Her parsing of the block chord accompaniment throughout the Andante from the A minor Violin Sonata is steady but never rigid, although, again, a heavy, emphatic hand threatens to weigh down the graceful surface of the D major Orchestral Suite’s Air.

Weyer’s concentrated deliberation casts an Apollonian shadow upon Saint-Saëns’s thick-textured rewrite of the First Violin Partita’s Bourrée that couldn’t be more different from Ossip Gabrilowitsch’s faster, snappier rendition on an ancient shellac disc. Saint-Saëns dips the Third Sonata’s Largo in chordal taffy, and Weyer duly revels in its pianistic succulence, as should all listeners.