Fazil Say, a pianist with a maverick reputation, now takes Beethoven by storm and the result, while unsettling for those who rejoice in more classic virtues, is challenging and arresting at many different levels. In the Third Concerto, his orchestra under Gianandrea Noseda are entirely in sympathy with their volatile soloist, and their stealthy start to the opening tutti and subsequent exhilarating sense of con brio tell you that this is going to be no ordinary performance. Say’s first entry is boldly assertive and from then on he sweeps all before him with an assured virtuoso brilliance, a salty and invigorating alternative to more staid readings. His cadenza (it is surely by him, though the sleeve makes no mention of it) erupts in a blaze of fireworks before a curious, music-box end. The central Largo, though occasionally brusque, is never less than musicianly and there are many spine-tingling moments in the finale.

The Op 111 Sonata (placed oddly before the Moonlight) could hardly open in a bolder, more declamatory style, with the odd bass reinforcement for good measure. Everything is propelled with a thrilling energy and momentum (though a sudden burst of speed in the l’istesso tempo will take you by surprise). Again, others may find a greater sense of transcendence in the second-movement variations yet Say’s entirely personal view is burning and almost palpable. He is probing and reflective in the Moonlight Sonata’s opening Adagio, perky rather than laborious (Arrau) in the Allegretto and unleashes an elemental force in the finale. This may be Beethoven with a difference but it is brilliantly urgent and committed. Say is boldly and resonantly recorded.