An invigorating, not to say heart-warming camaraderie springs up between father and son, who seem to spark ideas off one another and sound as if they are thoroughly enjoying themselves. Recorded sound quality is faithful, warm and detailed.

These are deeply imagined, highly visual interpretations of Debussy’s Préludes. In nimble form, Pollini creates an aura of venerable insight with an astringent integrity that eschews Gallic nostalgia. In this way, Pollini, the northern Italian, is in the tradition of the pianist Robert Casadesus, of Catalan origin, who never sentimentalised the French school of composers. Yet emotion and affection are audible in Pollini’s bewitching ‘Les fées sont d’exquises danseuses’. A positively Mussorgskian ‘Hommage à S Pickwick, Esq, P P M P C’ crowns this splendid autumnal performance.

There are many things to admire in this survey of the second book of Préludes. Pollini’s awareness of colour and texture is as acute as ever, and, never a pianist to smother musical outlines with amorphous washes of colour, everything is crisp and sharply focused.

On this studio recording from 2016 he is close to his recent best, endlessly shifting between different tone colours and modes of attack, wondrously alert to the modernist tendencies of pieces that bubble along without clear-cut forms or melodic motifs. The atmosphere of his opening Brouillard couldn’t be foggier; water just drips from Ondine.