Boulez’s piano sonatas boast a number of complete recordings, each with something distinctive to offer. Equally, I was struck while listening to them afresh just how different the three sonatas are; so perhaps it is only natural that for each work a different recording suggested itself as a (possible) first choice. Paradoxically, although none of Paavali Jumppanen’s readings came at the top of my list on a case-by-case basis, his lays fair claim to be the most consistently satisfying of the complete sets currently available.

Make no mistake: Jumppanen is more than competent technically; the gifted young Finn tackles the most demanding passages with confidence, and the more lyrical passages (such as the slow movement of No 2) with sensitivity. There is a coherent purpose from work to work and, given the variety I’ve referred to, that’s an achievement. Yet for youthful savagery and pinpoint fire in the First Sonata no recording quite matches Aimard’s. For formal clarity in the four-movement Second Sonata try Pollini; Biret’s sensitivity of touch in the slow movement is perhaps even more beguiling than Jumppanen’s. Henck’s clinical emphasis on the belly of the instrument is crucial in theConstellation-Miroir movement of the Third: the recording hones in on the pedal resonances to a degree unparalleled in the other discs. (Henck really stretches out the pauses and resonances, too, and to be fair, some may find his emphases, and those of his sound engineer, exaggerated.) But, as I say, there is virtue in Jumppanen’s consistency and nowhere can he be accused of lacking commitment. Biret’s fine interpretations are an obvious recommendation, and not just on the grounds of cost; but if you’re willing to splurge and have never heard these classic scores, Jumppanen is a confident guide. One or two noisy interventions from the pedals obtrude on what is otherwise a fine, clean recording.