The Finnissy whose black complexity and virtuoso demands make the more abstruse works of Liszt seem facile is not obvious here, though the figurative manner in which he ruminates on Gershwin songs is florid enough and not without its moments of rampaging. Beginning as improvised recital encores, these arrangements have developed into books respectively of 13 and 9 songs, with ‘Love is Here to Stay’, most touchingly transcribed, in this case acting as a bridge. No song that Gershwin himself rendered for piano is chosen by Finnissy; and since there turns out to be an unlikely congruence between the composers’ mentalities, these versions are useful concert items at the very least. But they have other dimensions, musical and sociological, as Pace’s booklet essay explains. Using a Fazioli piano to re-create an “old-fashioned” sound, he plays them thoughtfully and beautifully.