“Many, many times I wish I had never written it,” said Sergei Rachmaninov of his piano Prelude in C sharp minor. He was not the first composer to rue his own handiwork: Beethoven had a similar relationship with an early septet; Tchaikovsky famously derided his 1812 Overture. Nor was he the last: “Fuck off, we’re tired of it,” Radiohead’s Thom Yorke once snapped to an audience requesting ‘Creep’. Like Beethoven and Yorke, Rachmaninov considered this youthful piece unrepresentative — inferior to later efforts that were “not appreciated half so much”. But if it wasn’t wholly representative, it wasn’t unrelated either.