It’s worth remembering that Benjamin Grosvenor is only 24. He may have already appeared as a soloist at both the first and last nights of the Proms, and become the first British pianist in more than half a century to land a recording contract with Decca, but even now he is only at an age when many top-class pianists are beginning their professional careers.

His playing, then, is likely to go on developing and maturing, and his musical tastes will shift and broaden. On disc and in his recital programmes there’s still plenty of the flashy showpieces mixed in with the serious stuff: this recital began with sonatas by Mozart and Chopin, and ended with music by Granados and Liszt. Grosvenor clearly doesn’t flinch from the toughest technical challenges: the fiendish strumming accompaniments in the first of Granados’s Goyescas were negotiated almost casually, while the welter of notes rampaging up and down the keyboard at the climax of Liszt’s Rhapsodie Espagnole was immaculately controlled.

Grosvenor seems to be at his most relaxed in such pieces; his encore, a rippling study from Moszkowski’s Op 72 set, stayed very much within the same virtuoso tradition. Nothing earlier had seemed quite as special or fresh. Mozart’s Sonata K333 did all the right things in all the right places, perfectly focused and always purposeful; Chopin’s B flat minor Sonata had its moments, including a version of the enigmatic finale that seemed determined to sweep all the mystery away and bring the piece much closer to Liszt, while also underlining its significance for Scriabin, whose Second Sonata began the second half of Grosvenor’s recital. That was superbly played too, though still, one sensed, an interpretation in progress.