For once the hyperbole rings true. Christian Leotta’s fourth volume of Beethoven sonatas is indeed ‘a major addition to other sets currently available’. Musicianly to the core, this young Italian pianist quietly but unmistakably commands your attention at every level. His musical focus and concentration are unswerving, nothing is rushed or overly volatile, everything is scrupulously placed yet illuminated with acute detail and vitality. You will rarely encounter performances more meticulously prepared.

An exceptionally measured start to the Les adieux Sonata is followed by a robust and eloquent Allegro and in the Adagio there is a magical awareness of Beethoven’s departure from classical precepts into a pioneering world of Romantic evocation. Again, Leotta’s way with slow movements is a particular source of wonder, with a near-mystical aura hanging over Op 10 No 1’s central Adagio; something that takes you far ahead to the transcendental world of the last sonatas. I could imagine a more free-flowing opening Allegro to the Pastoral Sonata; this is unusually pensive but such is Leotta’s musical strength that everything coheres and convinces. In the grand design of Op 7 he achieves an admirable vigour and impulse and, more generally, you note the way codas, whether hushed or virtuoso, are given a special sense of occasion and finality. ATMA Classique’s sound captures all of the pianist’s quality and Vol 5 will be welcomed with open arms.