Anticipation ran high for this album. And its beauties are many and varied. Whether it’s the gorgeous delicacy with which he orchestrates the different layers of sound in Estampes’ ‘Pagodes’, the louche sinuousness of La plus que lente (Debussy’s closest thing to a café waltz) or the tenderness of ‘The Little Shepherd’ in Children’s Corner, there’s no doubt that Hough is largely in his element here.

A well-balanced selection embraces most of Debussy’s larger works for solo piano outside the two books of Préludes and the Études. The triptych of Estampes sets the tone with clear, atmospheric playing, given an extra warmth in Hyperion’s perfectly judged recording.

Hough captures every bit of [La Plus que Lente]’s lazy, sensuous languor, just as his account of L’Isle Joyeuse bristles with superbly controlled energy. Meanwhile, those of the two series of Images draw on a fabulous palette of keyboard colour.