Mustonen emphasises the music's stylistic antecedents, rather than looking forward to the expressive ambivalence of Scriabin's later music...Whatever the technical demands involved, Mustonon always lets each miniature breath. His concentration on Scriabin's internal logic, rather than poetic suggestiveness, pays dividends in the Tenth Sonata

An extraordinary pianist for extraordinary music. This is Scriabin as you have never heard him before, played by one of music's most formidable and compulsive free spirits...The music is made to leap flame-like and uncontained from the page and you could cut yourself on Mustonen's glittering sonority...Mustonen's beady and dazzling pianism in truly hypnotic...Few pianists have a more potent sense of the demoniac in music.

[Scriabin] is a composer you might expect would bring the best out of Mustonen, that he would respond well to the obsessiveness that characterises late Scriabin especially...Mustonen can't quite conjure the sheer hallucinatory weirdness that puts Vladimir Horowitz's recordings of these works in a class of their own, but he has a very good try.