This selection of Nocturnes reveals Perlemuter’s aesthetic to be decidedly different from his teacher Cortot, and indeed such as, say, Rubinstein or Moravec. The sense of directness established by his Fauré Nocturne recordings is apparent here too. This can be heard not merely in linear directness but in a gimlet, directional approach that eschews decorative sensibilities. Thus his Op. 9 No. 3 is fast, almost terse. He lashes into the central panel of Op. 15 No. 1 with vehemence, and there is natural authority, clarity and subtle nuance in its Op. companion in F-Sharp Minor. His D-Flat Major (Op. 27 No. 2) is lit by colour shading, pellucid runs and a refined tonal palette. His Op. 62 No. 1 is extremely fast. Recorded at Nimbus Studios, Wyastone Leys on 28th-29th January 1984 “perhaps his most immediate and real-sounding record yet” The Guardian