On this latest release, Malcolm Bilson contrasts Schubert’s overtly brilliant piano writing with his more personal, lyrical style in persuasive period-instrument performances. Like Levin, Bilson plays a Viennese fortepiano contemporary with the D major Sonata, D850 (composed in 1825). He likewise gives a spirited account of this work’s extrovert, Beethovenian characteristics. In general, Levin’s incisive, dynamic reading is enhanced by the keen-edged Johann Fritz fortepiano and more recessed recording – most notably in the first movement’s development section, where an increased tempo effectively emphasizes the music’s tempestuousness. However, aided by closer recording, Bilson, who maintains a steady tempo, allows the softer-toned Graf fortepiano to express the music’s inherent intensity with natural clarity. His playing is distinguished throughout by compelling spontaneity, further animated by subtle variety of touch and tone. This is especially true in the E flat Sonata whose reliance on lyrical outpouring, rather than drama, Schiff portrays with supreme eloquence. Nevertheless, Bilson’s freer, intuitive approach to gesture and register in this piece vividly highlights the expressive range of both the music and the instrument. The fluid, organic structure that emerges spawns convincing improvised ornamentation in the minuet’s repeats, and culminates in the finale’s bright, flowing song, invigorated by darker, Hungarian colours.'