The Second is illuminated by the bright freshness of his playing, and the orchestral playing in the Third is nicely sculpted, with the Largo an oasis of serenity, thanks to his fastidiously clean keyboard style. Bringing a white-hot intensity to the Allegro of the ‘Emperor’…Lisiecki wins well-earned applause as he brings his ship into harbour, But he does need a more sensitive sound-engineer.

A particularly successful movement is the finale of the Fourth Concerto. Lisiecki finds unexpected strength in the solo part, and the musicians of the ASMF respond with a reading that feels completely engaged. Rote playing has been banished from every performance in the set. I’d rate the Fourth and “Emperor” Concertos as high points.

Given that these performances were captured, according to the publicity, during rehearsals and performances, their presentation on discs is remarkably sleek and finished...Overall, it is the rondos which are most appealing in their infectiously playful abandon...There remains a great deal to enjoy in these performances, their freshness certainly, but perhaps, most of all, their promise of greater things to come.

The leanness of the orchestra in the Third Concerto is matched by Lisiecki’s transparency. The recording favours the piano in that the ASMF’s strings seem lacking in depth, even harsh up top. More successful is the central Largo, the piano’s initial statement sonorous, beautiful and profound – though even here there is a loss of tension.