The stylish intelligence and pianistic refinement distinguishing the first volume in Orli Shaham’s Mozart piano sonata cycle (released in 2020) continues into Vols 2 and 3. She rightly brings out the operatic subtext of the A minor Sonata, K310, probing the Allegro maestoso’s gnawing dissonances and generating tension through dynamic understatement in the Presto finale. Her beautifully sung-out Andante cantabile manages to be expansive and flexible without losing shape or continuity. In the opening Allegro of the F major Sonata, K332, Shaham gives distinct character and breathing room to each theme, and astutely brings out the composer’s cross-rhythmic phrase groupings. The Allegro assai’s vertiginous runs truly scintillate yet never lapse into square regularity; sophisticated accent placement and subtle elongations keep the listener guessing, so to speak.

One might take issue with Shaham’s ever-so-slight slowing down in the second half of the main theme of the Allegro of the D major Sonata, K576, but the Allegretto’s flashes of controlled vehemence impart a fresh spin on familiar ground. By contrast, she plays the ‘easy’ C major Sonata, K545, straightforwardly and eloquently, and her added ornaments on the repeats are just delicious. Unlike many young pianists these days, Shaham doesn’t drag the opening Adagio of the E flat major Sonata, K282, into solemn somnolence. Perhaps her tapering-off at ends of cadences in the Allegro finale smacks of too much pre-planning; I generally prefer faster interpretations with more wit and abandon.

However, there are plenty of details to savour throughout Shaham’s elegant and sophisticated treatment of the Allegro of the G major Sonata, K282, together with a masterly display of finger legato and portato articulation in the Andante. Her firm left-hand underpinning in the Presto finale prevents the right-hand runs from exceeding the local speed limit. In the first movement of the A major Sonata, K331, Shaham brings diversity to each variation while conveying a sense of unity, not to mention a genuine grazioso ambience. She over-interprets the famous Rondo alla turca finale with mannered holdbacks, while underplaying the janissary-like A major theme.

In short, Shaham’s artistry prevails over my tiny quibbles and easily holds its own alongside some of my favourite modern-day Mozart sonata cycles, whose ranks include Roberto Prosseda, Jeffrey Biegel, Christian Blackshaw, Peter Donohoe and the Denon recordings of Ingrid Haebler, once accredited to Joyce Hatto.