These four sonatas are apt companions. Though bearing widely separated opus numbers, Op 7 and the two sonates faciles of Op 49 are contemporaneous (1796‑97) yet, in the published chronology of the canon, the latter precede Sonata No 21, the Waldstein. Thus three distinct Beethovens are on offer: the Sonatinas modelled on those of Clementi and Dussek, the adventurous E flat Sonata, Op 7 (the second longest of all Beethoven’s sonatas) and the towering Op 53, written less than a decade later but light years away in its content and technical demands.

In welcoming the first volume of Martin Roscoe’s projected cycle of all 35 [sic] Beethoven sonatas (6/10), I drew attention to playing that “only a refined pianist with the wisdom of experience could bring off quite as well”. The same holds true for this second volume, the cover of which gives Beethoven top billing – a refreshing change and one which duly reflects the pianist’s approach to these works.

There is a warmth, directness and humanity about Roscoe’s Beethoven that is very appealing, no more so than in his beautiful handling of Op 7’s Largo movement, one of the highlights of the disc. The widely contrasted dynamics throughout the work, often changing on the turn of a sixpence mid-bar, are acutely observed but never exaggerated. This and Roscoe’s easeful phrasing ensure a seamless musical narrative. Listen to the coda of the first movement of the Waldstein for a further illustration – and to the sonata’s treacherous final pages for a deft and joyous peroration. A fine disc, superbly recorded at Potton Hall.