Yuja Wang’s ability to colour her playing at speed is like nothing we’ve heard since Martha Argerich. In Rachmaninov and Prokofiev, Wang is a powerhouse, although some critics miss a certain fullness of tone. On paper she would seem an ideal interpreter of the Ravel G Major and Left Hand concertos, but this turns out not to be the case.

In the G Major, Wang’s mercurial facility is her undoing. While she shapes dynamics and phrasing with skill, her nervous energy overpowers Ravel’s cheeky playfulness in the outer movements. The presto finale is a hectic race to the finishing line, despite her accuracy. As pianism it is absolutely astonishing – but is astonishment a reaction that stands up to repeated listening? Her tendency to press on proves fatal in the exquisite Adagio assai, limpid tone notwithstanding. Listen to Alicia de Larrocha here (Eloquence), and the great Spanish pianist transports you to a totally different, dreamlike world.

In the Left Hand Concerto, a more declamatory piece, Wang’s urgency short-changes Ravel’s tongue-in-cheek grandiosity in the piano’s initial entry. Later, in the remarkable passage where the pianist has to leap back and forth...