It may seem perverse to initially concentrate on the liner notes but so much of them is rampantly narcissistic, irrelevant and interminable that, I’m afraid, reading them cast a shadow over the listening experience. The recording producer’s contribution that Mark Isaacs’ name (he also composes film scores and plays jazz) be mentioned alongside Leonard Bernstein’s and André Previn’s took my incredulity to new heights.

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To the music: The Chopin Nocturne in D Flat, Op. 27 No 2 is longer than most in the genre and here is exquisitely judged by Isaacs, with perfectly ornamented thirds and sixths. The sonic trajectory is also perfectly calibrated from the soft opening, an even softer central passage and then a triple fortissimo. In the E Major Etude Op. 10,...