The Bulgarian pianist Marija Jankova Noller enjoys a distinguished career as solo and chamber pianist as well as jury member and educator, particularly in Central Europe. Her latest solo album focuses on modern, not-too-familiar repertoire mostly from Italy and Bulgaria, including pieces not otherwise available: Julia Tsenova’s fine Triptych (1996) and Marino Baratello’s less memorable Romantic Preludes after Liszt. Good to hear Vladigerov’s bracing Vardar (1922), too.

Noller’s technique, as caught by Convivium’s clear recording, is undeniably impressive. Tempos tend to the expansive rather than the nimble, and where comparisons are available these are not always in Noller’s favour. Laura Farré Rozada’s rendition of Djambazov’s 1981 33:8 (Edicions Albert Moraleda) fair fizzes along where Noller’s plods. Schnittke’s affectionate, uproarious Hommage à Stravinsky, Prokofiev and Shostakovich (1979) – scored for three players at one keyboard and multitracked by Noller (for which much respect) – does not quite ignite. And the concluding Alla marcia of Dallapiccolas Sonatina canonica (1943) is rather funereal, especially when compared with Nikita Magaloff (YouTube) and Roberto Prosseda (Naxos).

Berio’s Six Encores (1965-90) fare best of all, Noller well catching their slight-but-steely expressivity.