Donohoe delivers a highly charged and compelling account of the angry modernist First Sonata. But it’s the weighty and complex Second that emerges as the true masterpiece in a mesmerising performance that makes one wonder why it doesn’t feature far more often in recital programmes.

Donohoe is an assured and sympathetic guide through [the First Sonata’s] sometimes gnarly textures…[in the Second] he relishes Shostakovich’s occasional bursts of more energetic writing without losing sight of its essentially elegiac tone…[In the Second Concerto] he is particularly convincing in the outer movements.

Unbridled talent on display here… his control of rhythm and dynamics exemplary...Both concertos receive very proficient and idiomatic performances.

Donohoe’s needle-sharp articulation and firmness of tone set the nerves appropriately on edge, carving out the music’s contours with glacial insistence.