They were more stunned than impressed, dubbing the composer an enfant terrible, a description Prokofiev liked. His music was the height of aggressive modernism in 1913, although the version of the Second Piano Concerto we know today is a rewrite from ten years later, after the original score perished in a fire. Another young Russian virtuoso, Anna Vinnitskaya, takes a considered and personal approach to the work.

In the manic cadenza of the first movement she does not essay the sheer torrent of sound produced by others, but emphasises the musical themes instead. Her steely, relentless scherzo is succeeded by a characterful third movement taken at a steady pace. She launches into the finale with speed and accuracy, making the most of the contrasting episodes. Varga, who has accompanied her before, is supportive of every choice. The score’s wit eludes them, notably in the scherzo, but within their constraints they give a detailed, committed performance.

The Ravel concerto is not so individual, but equally well played. This high-spirited divertissement with its jazzy flavour suits Vinnitskaya’s crisply articulated touch – which she softens for the dreamy slow movement. Again, orchestral ensemble is spot on, and the sound is terrific. Recommended in preference...

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