Antti Siirala gets off to a strong start in Op 109’s first movement by virtue of his graceful phrasing and beautifully calibrated ritardandos. The second movement is a true Prestissimo and astute listeners will notice that Siirala is one of the few pianists (along with Charles Rosen, Freddy Kempf and Annie Fischer) who clearly differentiate the composer’s legato and detached articulations. His smooth transitions and long-lined trills stand out in the theme and variations.

My only criticism of Op 110 concerns Siirala’s tendency to slightly round off cadences and begin certain phrases a shade under tempo; the Allegro molto, for example, falls short of the impact and ferocity distinguishing Stephen Kovacevich’s. Still, Siirala must be credited for integrating the final movement’s elusive tempo relationships and building the fugue with impressive exultation.

Op 111 features strong, clear fingerwork throughout, along with a luminous, full-bodied quality in the opening statement of the Arietta and extensive quieter passages, although Pollini’s more incisive Allegro and firmer control in the dotted rhythms of the Arietta remain the gold standard. Quibbles aside, it says a lot that Siirala’s polished and intelligent pianism can hold its own in a catalogue overloaded with excellence.