This unusual coupling works by contrast, the Grieg’s overt lyricism offset by the more feisty, wintry fairy-tale magic of the Prokofiev. And it is surely in both these concertos that Nikolai Lugansky comes into his own. A modern take on a more traditional Russian piano tradition favouring the strongest emotional impulse, Lugansky, for all his manifest musical and technical skill, has sometimes seemed cool to the point of detachment. But here in the Grieg Concerto he is as rhapsodic and affectionate as he is masterly, the cadenza in particular superbly paced in its sharply focused drama and articulacy. His first entry in the second-movement Adagio is both crystalline and freely romantic, and the finale flashes with a glittering, rapier-like brilliance, its principal idea characterised with a fierce rhythmic aplomb.

In the Prokofiev, Lugansky is on home ground and once again his performance blazes with conviction, a propulsion and energy finely complemented with an innate sense of poetry. Kent Nagano and the Deutsches Symphonie-Orchester Berlin could hardly be more alert and sympathetic partners, and Ambroisie’s sound is of an ideal clarity and balance. In a market place where great recordings jostle for attention (Lipatti in the Grieg, Argerich in the Prokofiev, to name but two), Lugansky takes his own special place.