This fourth and final volume of Jean-Claude Pennetier’s traversal of all Fauré’s solo piano music is dedicated to the late works, composed in 1905 21. Pennetier presents this ample bouquet of Barcarolles, Impromptus and Nocturnes in the order composed, making clear the uncompromising path Fauré pursued as he extended the horizons of expression despite his encroaching deafness.

Since Pennetier began his series in 2009, there have been several other remarkable Fauré recordings, including those by Louis Lortie, Michel Dalberto and Hannes Minnaar. Pennetier’s thoughtful readings are always probing and occasionally so deliberative as to seem hesitant. Consistent with what we know about Fauré’s own piano-playing, Pennetier uses very little pedal. As a result, it is only by virtue of his cultivated touch that the music doesn’t sound unnaturally dry. On the other hand, it also lends Fauré’s vaunted polyphony extraordinary clarity.

At first, listening to the Op 90 Barcarolle, one almost reflexively wishes for greater abandon. Adjusting to the pace and tenor of Pennetier’s unorthodox narrative takes a moment. In the Nocturne Op 104 No 1 the evocation of spiritual anguish is so naked as to be almost painful. As the programme progresses, there’s an uncanny sense that the pieces expand, although their actual duration is varied throughout. Encountering a piece in a major key, such as the Barcarolles Opp 106 and 116, it’s as though one has stumbled upon an oasis.

This is perhaps Fauré for the ascetic rather than for the sensualist. These searching readings capture all the longing and fundamental sadness that underlie this autumnal music. For a master whose piano music has so long remained the realm of specialists, experiencing the variety of divergent approaches now available can be an exhilarating experience. Pennetier’s interpretations easily take their place among the most provocative, interesting and deeply felt.