Recordings are still thin on the ground for one of the 20th-century’s great piano-cycles, so any new or re-issued one is bound to attract attention, especially when played here with such exuberant mastery by a champion of such music, especially well known both in Spanish-speaking countries and in the UK, where she has long been a favourite performer, much beloved of audiences for her sparkling virtuosity and easy-going, appealing platform-manner.

As its name suggests, Goyescas are reactions in sound to one of Spain’s great painters, Francisco Goya (1746–1828). The subversive and imaginative element in his art, as well as his bold handling of paint, provided a model for the work of later generations of artists, notably Manet and Picasso.

It also stimulated the creative imagination of Enrique Granados at the end of the 19th-century. Goyescas is his late masterpiece, full of colour and sadness and wild changes of mood just as Goya’s art was.

It also had a decisive influence on many subsequent composers, not all of them Spanish: perhaps no one followed more devotedly in the footsteps of Granados than Manuel de Falla, and Ortíz completes her recital with three little-known but charming miniatures.