Some people seem to click instantly with the light-hearted jazz-classical fusion of Ukrainian Nikolai Kapustin. For me, I confess, it took a little while to appreciate that Scriabinesque harmonies and Oscar Peterson-style figuration can be tossed around so casually without sounding merely like a novelty act. I’m still not a fully signed-up devotee. Occasionally the added-note chords and foursquare phrases are just so close to retro restaurant music that I can’t get past the association. It’s all good clean fun but also terribly middle-of-the-road, even as played deadpan by the composer himself. And when Latin American rhythms are thrown into the mix, it still sounds like little more than a throwback to Ginastera.

But such blatancy is certainly not an adequate description of the Seventh Sonata; and having found the wavelength for its rhapsodic invention (which includes the most un-minuet-like minuet you are ever likely to come across) I found it easier to go back and find imaginative resourcefulness in the First Sonata and extracts from Kapustin’s Concert Etudes. Still, the Variations worry me slightly; this is a mere jeu d’esprit, isn’t it, this fooling around with the opening theme of The Rite of Spring?

The young South Korean Sun Hee You is a fleet-fingered and energetic exponent. On her Yamaha instrument she may not find quite the range of colour or mood as Steven Osborne. But the First Sonata is the only direct comparison here, and those without access to the composer’s own account of the Seventh Sonata on Triton (available as a download only, so far as I can tell) will surely welcome the newcomer as a real contender.