Any piano maven who doesn’t fall in love with Mompou at first hearing is either a liar or a curmudgeon. In turn, more and more pianists are turning to Mompou’s refined and recondite idiom on disc, including the London-based Brazilian Clélia Iruzun. My colleague Bryce Morrison rightly raved about her first release in a projected (though not comprehensive) Mompou cycle, citing her ‘unfailing lucidity and affection’ and her ‘always apt and beautiful sonority’ (3/13), abetted by ideal engineering.

Vol 2 holds comparable attraction and, like its predecessor, mixes and matches works from different periods of the composer’s long life. The seven selections from Cancions y danzas that open the disc represent Mompou at his most melodically beguiling. Indeed, one might describe No 9 as a distant Catalan relative to the traditional American folksong ‘Shenandoah’. Whimsical mood-changes and discreet harmonic spice in the Scènes d’enfants’ central three ‘jeux’ movements reveal that Mompou was already Mompou in 1914.

Book 1 of Música callada is this recital’s centrepiece, and Iruzun’s sensitive interpretations take Mompou’s stark introspection at face value. For example, she resists milking No 3’s poco ritards as others do, and paints Nos 4 and 5 in an austere light. She unravels the two little gems based on ‘Au claire de la lune’, the exquisite Trois Variations and the elusive 1919 Tango straightforwardly and simply, yet with carefully calibrated nuance. And her pointing up of the left-hand accompaniment lends interest to the over-long and atypically (for Mompou) bland El pont de Montjuïc. Three years have lapsed between Vols 1 and 2; hopefully Vol 3 will appear before 2019.