Purely in terms of selections and running order, Joseph Tong’s all-Schumann disc represents an ideal, well-balanced programme that judiciously represents this mercurial composer. I like the way Tong slightly varies his touch and phrasing in each iteration of the Arabeske’s main theme, although one might take issue with his overly vehement treatment of the march episode. Such an approach better suits the C major Fantasie’s obsessive central movement, where Tong is strongest in the moments of lyrical respite, but he disappointingly holds back in the climactic coda. But he integrates the opening movement’s disparate moods with masterful fluidity, and resists the common temptation to press ahead in the third movement’s loudest passages; one can learn from Tong’s steadiness and simplicity.

Tong brings impressive solidity and authority to the more orchestral writing in Papillons: for example, No 8’s repeated block chords and No 10’s evocations of hunting horns. But No 5 is too heavy and overly serious for such disarming music, and one could imagine No 4’s bracing right-hand octaves with more suppleness.

Although Tong takes Faschingsschwank aus Wien’s opening Allegro at a relatively measured tread in comparison with, say, Richter or Anderszewski, his resolutely centred rhythm generates comparable drive and momentum. The same cannot be said, however, about Tong’s stridently dragging and texturally monotonous finale. Note, too, his haunting deliberation in the Romanze, and a well-sprung Scherzino that unfortunately loses steam in the exciting final measures. Tong’s slightly square reading of the Intermezzo undermines the music’s impassioned undercurrents.

The main question is how an uneven release with many distinctive features will fare in a catalogue overrun with consistently great and more alluringly engineered Schumann interpretations. Such is the reality of the marketplace.