With the exception of the ‘Black Pearl’ variation, which lasts almost ten minutes, this is one of the fastest sets I have ever heard, yet it’s also one of the most enjoyable. Ólafsson draws on a refined palette and his touch – always flawlessly accurate – is as light as a feather. The microcosms are clearly characterised, yet, as the kaleidoscope turns, the effect is seamless.

Bach’s part-writing comes across with exceptional clarity and Ólafsson is rarely tempted to pull the phrasing about for expressive effect, as some of his rivals are. Here is a performance of the Goldberg Variations that is very much Ólafsson’s own, played with authority, variety of touch and mood, and plain joy.

Ólafsson has been nourishing, revising and even overhauling his relationship with this music since the ‘90s. That humility, and ability to critically reassess one’s approach and course-correct, makes the end result serious, sincere and authentic. A musician of this calibre, taking this much time to get his approach right before putting finger to keyboard? It’s absolutely not to be missed.

This is my record of the year. In the Icelandic pianist’s hands, Bach’s progression through aria and 30 variations becomes a metaphor for human experience. Personal yet universal, faithful yet radical, technically scintillating and emotionally uplifting, it’s a journey to the centre of the soul.

Ólafsson’s interpretation is outstanding. He plays the same Steinway model D he chose for his Bach (2018) and Debussy/Rameau discs. Supple playing, flexibility in speed and mood, contrapuntal clarity, a singing bass line, an abundance of expression but no intrusive mannerisms: all make this a Goldbergs for repeated listening.

Ólafsson’s phrasing is so graceful, his articulation playful yet exact. The effect is utterly beguiling...If any quality dominates the interpretation of this keyboard masterwork, I’d say it was Ólafsson’s highlighting of Bach’s good humour as the theme is ingeniously twisted this way and that. This really is a refreshing release.

That it’s taken a quarter century or so for Ólafsson to get here speaks to his seriousness and humility. And it’s those qualities – along with, it has to be said, an impish playfulness – which stand out here. Indeed, anything Ólafsson does is never less than interesting.

Ólafsson’s Goldbergs begin by passing a big test: he doesn’t moon over the Aria, but just plays it. And then he piles one triumph on top of another. He can bring out the structural logic of the most virtuosic variations by throwing tiny spotlights over shifts in harmony at gravity-defying speed...So I’ll go out on a limb and say that the Goldberg crown has settled on a new head