Lionel Bringuier’s recordings of Ravel’s piano concertos with Yuja Wang were issued last year, and a second listening confirms the Wang approach has much going for it. Her view of the G Major Concerto soft pedals Ravel’s borrowings from jazz, the opening movement running with the jazzy energies but ditching the stylistic hooks, while her second movement refuses to collapse towards sentimentality. The Left Hand Concerto accrues momentum and dark-hued power, even if Bringuier saunters past some orchestral nuances – compare Boulez’s highlighting of the opening contrabassoon grumbles.

But that is perhaps a temporary oversight. Boléro – taken at quite a lick – is satisfyingly painterly, the Tonhalle’s nuanced shades and textures, underpinned by a tightly marshalled snare drum, shining a light through Ravel’s experiment in orchestration without music. La Valse also benefits from the same intensity of colouristic framing, and the surge towards structural fragmentation flirts with unashamed savagery.

The whimsy of Mother Goose (complete) and miniatures like Pavane pour une Infante Défunte and Alborada del Gracioso is well judged, a pity though that Ray Chen hams his way through Tzigane. Daphnis et Chloé is a bit wide-angle camera for my taste, a repeat of my...