This is the second volume of Gräsbeck’s trawl through early Sibelius manuscripts‚ many of which were previously unknown before they were donated to Helsinki University by the composer’s family in 1982. One may not readily associate Sibelius with the piano – his solo piano music occupies a place in his output not dissimilar to Tchaikovsky’s piano miniatures in his – but there is an affable‚ easy­going appeal to much of this work‚ and a sense of youthful optimism that Gräsback captures well. Of all these pieces‚ most of which are untitled and without tempo markings‚ Florestan (1889) is the most polished and the only one to have been recorded before. The remainder vary from the briefest sketches and exercises (three fugue expositions‚ and a range of sonata fragments for Albert Becker‚ Sibelius’s teacher from 1889 to 1890) to full­blown sonata movements. The three sonata movements from 1888 (tracks 9­11) are among the best works on the disc‚ full of melodic inventiveness and lyrical charm‚ while the sonata expositions with completions by Kalevi Aho (tracks 20‚ 23 and 26)‚ although derivative‚ are most striking in terms of dramatic scope. Gräsback’s commitment to the cause is evident throughout. Recorded in clear if cavernous sound‚ he applies himself admirably‚ navigating uncharted territory with superb aplomb. He can hardly be blamed for the inevitably workaday quality of some of Sibelius’s student exercises. His fleet­fingered articulation and ability to portray an atmosphere within a short timescale are impressive‚ as are his detailed and informative notes. In some of the larger­scale pieces a feeling of gritty determination perhaps dominates more than it should‚ but overall‚ while hardly riveting from start to finish‚ Sibelius fans will find this an illuminating disc.