When we come to look back over it, agreement will be widespread, I’ve no doubt, that Uchida’s has amounted to a distinguished series, some of it among the best Schubert on the piano there has ever been. And I guess parts of it will continue to divide people. This last instalment is characteristic of her: highly inflected, even in the German Dances, every note thought about, the detail wonderfully wrought, the sovereign pianism and sound at the service of expression that has been felt, lived through, made quite personal. I do like that kind of Schubert playing, one to one, essentially intimate, which entices you to make a journey with a spellbinding guide who has a vision she wants you to share.

Only the finest Schubert pianists find their way to Uchida’s rhythmic control, enabling her to project the impression of a consistent tempo in a sonata movement while in fact there may be several, the changes nearly imperceptible as they follow the demands of the incident. Sample the outer movements of the A minor Sonata, D537, for this, which are thrillingly eventful. In the A major Sonata, D664, perhaps less fully achieved, her nerviness sometimes creates a restlessness at odds with its Biedermeier world.

More contentious certainly will be her treatment of the two sets of Deutsche Tänze, particularly the bigger one, D790, where reverie, yearning and laborious tenderness tend to smother the spirit of the dance – as they get slower and slower I long for daylight and fresh air. But when I like Uchida in Schubert I like her enormously; these fine recordings of her, in the Musikverein in Vienna, are part of the attraction.