Two years ago Andras Schiff held this auditorium in thrall with a performance of the Goldberg Variations: Now he’s done the same with the first book of the same composer’s Well-Tempered Clavier, a work never played at a Prom before. Schiff sees these preludes and fugues in terms of colour, beginning with the snow-white innocence of the opening prelude in C major, and culminating in the B minor fugue which for him is in the pitch-black key of death. And on this occasion he abjured his beloved Bösendorfer in favour of a modern Steinway.

There was indeed a crystalline transparency in the first prelude, a metronomic regularity which was in no way mechanical, and for a while he maintained these qualities, playing with a caressing touch and going at an unusually gentle pace, thus allowing unfamiliar effects to emerge. Some of these had bewitching charm – as in the exquisite melody passed between the hands in the sixteenth prelude – while others were bracingly astringent; when virtuosity was called for it was delivered with impeccable control, every note given due weight. Bach’s extraordinary stylistic experiments in the fantasias were played as though being essayed for the first time.