Benedetti’s first entry is swift, weightless and agile, landing as it does on the softest of pianissimos, the effect at once both virtuosic and ethereal...because her overall approach is so lively the work emerges as a genuine dialogue rather than ‘holier than holy’ as is, or was, so often the case.

Benedetti, Aurora and their conductor Nicholas Collon have recorded an interpretation that’s buoyant, warmly affectionate and at times just a little tongue-in-cheek. You’d expect playfulness in the last movement, but it’s there to some extent throughout, even in Benedetti’s weightless playing of the slow movement.

Long before the finale’s jollities, Benedetti and Collon make the music dance, moving lightly and fleetly without ever jeopardising the epic first movement’s lyrical weight or the central larghetto’s enraptured calm.