Fascinating and individual in Debussy (1/01), Cédric Tiberghien now moves into Beethoven’s more rugged and forthright terrain, demonstrating his versatility at virtually every point. He commences the Eroica Variations with a meticulous weight and balance of textures and although exceptionally delicate and precise, rarely misses the force and energy underlining one of Beethoven’s lithest, most vigorous arguments. He sinks gratefully into reflection in Variation 8 and his musicianship in the richly ornamented Largo of Variation 15 (also in the conclusion to Op 34) is at once individual but unsullied by personal idiosyncrasy. The fugue, too, is never bleak in a more familiar style but warmly, excessively articulated, its lineaments already a prophecy in style if not in mood of the daunting finale to the Hammerklavier Sonata.

Again, in the 32 Variations in C minor – that compendium of classical virtuosity – Tiberghien is meticulous but never severe, precisely yet generously registering the mood and character of each brief Variation in a manner that may well have caused Beethoven to alter his unfavourable opinion of his work (‘Beethoven, what a fool you have been!’). His stretto in Variations 21-22 makes the dark place of Variation 23 sound unusually mysterious while Variations 10-11 show an unfaltering assurance and style.

Tiberghien is no less outstanding in less demanding fare, relishing the explosive whimsy of the Rule Britannia and God save the King Variations, with their mock solemnity and affectionate digs at British assumptions of superiority. So here, clearly, is a pianist to watch, making one curious to hear him in many other composers. Harmonia Mundi’s sound is excellent, making this an altogether exceptional disc.