The esoteric and the eclectic combine in an entertaining compendium of favourite encores and works composed for him in a belated follow-up, a decade on, to Piers Lane Goes to Town. One that is more varied and satisfying in its extended reach beyond its predecessor’s focus on the 20th century.

The earliest work here, Jean Baptiste Loeillet’s five-part Keyboard Suite in E minor composed in 1723, is a pleasingly variegated collection of dances capped by a virtuosic Gigue. The most recent, Robert Constable’s five-minute A Slinky Foxtrot (Nocturne) from 2019, lends a tipsy nod towards the era of piano-accompanied silent films. Lane delivers both with becoming grace, glee and beguiling indulgence. In between, a brace of contrasting Szymanowski Mazurkas give way to a baker’s dozen of miniature German dances and sentimental waltzes by Schubert and, in turn, TK Murray’s animatedly pugilistic fantasy, Danse barbaro.

Equally combustible is the “Tarantella” from Liszt’s Venezia e Napoli, Lane clearly relishing its invitations to...