Tiberghien meets all the technical challenges in these pieces with seeming effortlessness. His touch is pellucid, and he knows ho to bring out the charm of Bartók’s arrangements; every grace note is given due weight; and the sustaining pedal is used to make simple effects more resonant; when Bartók’s games with tonatlity grow complex, he renders them with relaxed playfulness.

Bartok’s piano idiom, generally less resonant than, say, Liszt’s or Chopin’s, oddly benefits from the stylistic amplification lent by other instruments: a thought provoked by this fine account with François-Frédéric Guy and the percussionists Colin Currie and Sam Walton.

The French pianist has saved some of Bartók’s most straight-up tuneful material for last...through it all, the angular and the earthy, he has a way of making Bartók’s rhythms sound simultaneously stretchy, precise and personal.

In the Sonata for Two Pianos and Percussion, Tiberghien is joined by François-Frédéric Guy, Colin Currie and Sam Walton: the result is the best version in excellent digital sound available; indeed the recording quality is top-drawer throughout, the piano(s) perfectly caught.