Giorgini’s affinity with this reflective music is evident from the outset. Formidable technical ability is matched by the architectural sense, harmonic sensibility and coloristic range this sprawling music demands. Her shaping of climaxes demonstrates complete control of pace and dynamics, on a Bösendorfer which never sounds brash.

[Giorgini] her playing is often subtle, she can be daring as well. That’s especially clear in her willingness to play with the tempo (listen to how she stretches fermatas), but you’ll also hear it in her willingness to churn things up with an extra touch of virtuoso splash (for instance, the glorious sonic waves in “Miserere d’après Palestrina”) or with heightened melodrama (most notably in “Pensée”).

Her masterful authority immediately captures your attention in the carefully sculpted climaxes of the opening ‘Invocation’. So does the pianist’s subtle textural differentiation in the sparer, more introspective ‘Ave Maria’...Well worth hearing.

Giorgini first made her name by winning the international Mozart competition in Salzburg five years ago, but she is clearly a very fine Lisztian, too.