Antony Gray is a London-based pianist who has gained praise for his recordings of Poulenc, Bach, Brahms and Goossens and one can see his skill with these composers fertilising this new disc devoted to Schultz’s pianistic output. In the Adelaide-born composer’s music there is a sense of space, which is entirely appropriate to the vast Australian landscape; and unlike many earlier composers, Schultz is is content to write in a more neo-tonal manner without resorting to dissonance or mimicry of birdcry.

Even in his recent Interludes (2015), there is a sense of late-Romantic intensity. And though Schultz does not regard himself as much of a pianist, there is much here – a sparseness of creative landscape, which defines modern notions of Australia. His music is more melodic than atonal, and yet almost naively deductive in its sense of logic, place and space. Here is music that is haunting and inward, searching for a sense of landscape if not comprehension.

Schultz’s literary influences are disparate – from the 10th-century Japanese Pillow Book to Inventions from his own opera The Children’s Bach after Helen Garner’s touching novella. His counterpoint is all so appropriate, making even more sense of the Bach adopted by the primer of Garner’s title, with a feeling of improvisation and expanding beauty in the right hand, set against gently resolving chords in the left. For those who wish to disappear into the seemingly understated, there is little need to look further.