It’s always fascinating to hear Russian pianists play Debussy. Nikolai Lugansky opens with L’Isle Joyeuse, inspired by Watteau’s Embarkation for Cythera, depicting an aristocratic group boarding a boat bound for the Temple of Venus. Lugansky makes it one of Debussy’s most extrovert compositions, as well as being his earliest example of an “orchestral” work conceived for piano.

He distinguishes the contrasting spirit of the two Arabesques and doesn’t relegate them to salon-inspired triviality. In what is essentially the major work, Bergamasques, the Minuet is played without sugary daintiness and Clair de Lune (Debussy’s quintessential piece?) has all the space, delicate Romantic feeling and rubato that, say, Simon Trpcˇeski’s version lacks. My favourite piece of all Debussy, La...