Under Jean-Efflam Bavouzet’s supple fingers, [Sonata No. 11] proves a delight. By subtle shading of dynamics, minutely varying the rhythmic pacing and adding spritely touches of decoration to repeat sections, he reveals the piece to be packed with bright invention, with a touch of gravity in its slow movement

He has [promoted Haydn] at a level of technical perfection allied to insight, rigorous intellectual curiosity and the probing instincts of a distinguished performer that have never been brought to bear so acutely and consistently on this part of Haydn’s activity...wonderfully clean as his playing is, there is always warmth and a host of qualities that make his fingers sing and speak and entertain the way they do.

The disc highlight is the magical Adagio of No 34, almost experimental in its use of register and silence, Bavouzet interpolates an effective mini-cadenza into the chirpy finale of No 36. Throughout, he adds effective ornaments in the repeats. Superb in all respects.

The magnificently offbeat, eccentric opening movement of No. 11 sets the tone for 83 minutes of untrammelled delight. Reliably but ingeniously, Bavouzet finds something new to say in the repeats: no mere vocal- imitation trills but ornamentation and mini- cadenzas which honour Haydn’s own spirit of invention of the evolving keyboard instruments of his time.

The disc highlight is the magical Adagio of No 34, experimental in its use of register and silence. Bavouzet interpolates an effective mini- cadenza into the chirpy finale of No 36. Throughout, he adds effective ornaments in the repeats. Superb in all respects.

His is a personal approach to Haydn yet it never stands in the way of the composer’s intention.