Late Haydn and early Beethoven make a facscinating coupling of contrasts and similarities thanks to Dejan Lazic’s strongly characterised performances. He brings muscularity and bite to these so-called English Sonatas of Haydn: they make no attempt to charm and often lean towards fierceness. Contrasts of articulation and shading are extreme, with witty pointing of elaborate figuration – the brief, sparkling finale of the C major or the dotted rhythms in the first movement of the E flat, for example. Tempo fluctuations throughout prevent any feeling of rigidity. The sound is bright, full and forwardly balanced. Interestingly, the record producer for the sonatas (recorded in studio) was Pieter Wispelwey, the cellist who has collaborated with Lazic on other Channel recordings: the results are impressive.

The concerto performance has similar qualities, though a feather-light first entry belies the muscular approach that characterises Lazic’s overall approach. The chamber-scale is well caught in the recording, and Lazic’s confidence is demonstrated by his own cadenza. Tempo changes frequently but it’s lively and mostly in style, though with some Lisztian touches and a formidable, abrupt lead-back to the orchestral coda without the usual preparatory trill.

The slow movement is on the romantic side, persuasively flexible, culminating in a deeply reflective close. The finale is light and wittily pointed, with Beissel and the orchestra offering clean, crisp support. An unusual coupling, but one which reveals the striking qualities of a characterful young pianist.