These are exciting performances of two of Prokofiev’s masterpieces but both leave something to be desired. Matsuev has fingers of steel, and once we get past a strangely uninflected opening statement from the clarinet, the Allegro gets underway with a vengeance. Russian musicians are running this performance, and this is the Russian way of playing Prokofiev: hard and fast. There’s no denying the adrenalin rush but subtlety falls by the wayside. It’s bad luck for Matsuev that a set of the Prokofiev concertos has just appeared from Chandos – Jean-Efflam Bavouzet seeks out the lyrical and capricious in Prokofiev while keeping plenty of strength in reserve. In comparison, Matsuev and Gergiev seem blustery and unpolished.

In the wartime Symphony No 5, Gergiev nails certain moments like no one else. The climactic theme of the first movement, punctuated by tam-tam and cymbals, is as visceral as could be. However, this theme is played twice and he rushes through the first statement perfunctorily. The passage is more effective in the hands of Karajan and Levine (to cite two first-rate recordings). The scherzo and finale are briskly delivered but Gergiev meanders through the slow movement until the point where musical tension begins to mount.

Forthright playing and clean live sound are pluses, but I’d stick with Karajan in the symphony and Bavouzet or Argerich in the concerto.