“Unexpected Encounters” is the title of Tzimon Barto’s disc, with some unexpected perspectives on Haydn because Barto accepts nothing at face value. The first three sonatas, with minimal expression marks, are written for the harpsichord but Barto doesn’t imitate the instrument. Instead he uses the resources of the piano to express what Haydn implied. Ductile sonorities rather than sharp transients fill out the fabric and repeats are varied through changes of touch rather than decoration. No 10’s origin is considered doubtful but Barto’s interpretation is of a scope that suggests the real thing.

Surface glitter is eschewed. The first movement of No 38, for example, has no tempo marking and Marc-André Hamelin plays it presto (Hyperion, 5/07). Barto prefers moderato – and offers a different view. As always, he probes, but goes the wrong way with the Minuet and Trio of No 42. It’s finnicky to the point of prissiness. Not so No 60, written for piano, where depth of feeling takes in the full dramatic force of the work.

Anne Queffélec isn’t neglectful of dramatic force either. She too uses the full resources of the piano and her response to the Variations is both thoughtful and richly analytical. The pairs of themes and variations in F minor/F major represent a gamut of feelings, from restrained despair to outright angst. Queffélec expresses these emotions through her pacing and shading of the writing. She is totally involved, and is just as involved in her interpretation of the Sonata traditionally considered Haydn’s last but placed third from the end by scholar Georg Feder. Its quirky twists and grand passions are not lost on Queffélec whose dialogue with the composer’s voice also extends to a tenderly nuanced slow movement.

Fine rhythm and articulation illuminate her playing. Some of these qualities are apparent in the finale of No 54 but not in the first movement which is comparatively bland. Nor in the outer movements of No 53 where she resorts to a smooth fluency that weakens their shadowy undercurrents. Still, the rest of Queffélec’s programme is cherishable; and the sound on both discs is credible.