At the end of the development section of the Allegro vivace of Op 31 No 1, Beethoven presents a wonderful transition by reiterating syncopated D naturals in the left hand. Andreas Haefliger creates a rare hushed drama out of this passage. Indeed, his attention to dynamics is such that when Beethoven dips down to pianissimo for the first time, right before the recapitulation, you can’t help but notice. The unison scale passages’ easy sweep and super-subtle accelerations also add distinction to Haefliger’s interpretation.

The pianist’s attentive articulation in the Andante grazioso beautifully exemplifies expressive control and timbral variety; again, Haefliger’s mastery of colour and nuance make Beethoven’s dynamic contrasts both audible and meaningful. His Rondo finale slightly yields to Jonathan Biss (Onyx, 3/14) for warmth and flexibility, yet he also brings the left-hand lines more to the forefront than most.

Haefliger’s sonority appreciably opens up in the Tempest Sonata, Op 31 No 2, where his detailed command of the outer movements achieves an ideal fusion of emotional turbulence and classical poise. The pianist also takes Beethoven’s controversial long pedal markings seriously, if not literally. And in the Adagio, does the understated eloquence of this pianist’s cantabile phrasing subliminally connect to his late tenor father Ernst Haefliger’s lieder artistry?

Oddly, Haefliger’s extrovert qualities in the Tempest do not spill over into his relatively restrained and even inhibited way with Op 31 No 3’s robust opening Allegro. Conversely, he taps into the Scherzo’s woodwind-like repartee with crisp détaché fingerwork, although he doesn’t quite match Murray Perahia (Sony, 2/88) or the most recent Daniel Barenboim traversal (DG, 12/20) for conversational wit. Haefliger takes a broad and unconventionally brooding approach to the Menuetto that will catch listeners off guard. By focusing on clarity, suppleness and contrapuntal balances, Haefliger assiduously generates a bracing momentum that makes his Presto finale sound faster than it actually transpires. In short, collectors who’ve followed Haefliger’s Beethoven over the course of his earlier ‘Perspectives’ series will not be surprised by the high craft and musical intelligence throughout this release.