Francesco Piemontesi's first venture into Mozart on disc is apparently the start of something much more ambitious. The Swiss-Italian pianist, a former pupil of Alfred Brendel, Cécile Ousset and Alexis Weissenberg, is planning to record all of Mozart's piano music and concertos for Naïve over the coming years, and this first sample suggests that it should be a series well worth following closely. Piemontesi is a highly intelligent musician, with a wide-ranging repertoire, but his Mozart playing is certainly special, intensely thoughtful and scrupulously prepared.

The most substantial works here are the two sonatas. The centre of gravity of the D major K284 lies in its final set of variations, which last much longer than the other two movements put together, and which Piemontesi brings to life with fabulous imagination as the piece tours through a wide variety of styles. The F major Sonata K533, for which Mozart recycled an earlier rondo, K494, as the finale, is altogether a different matter. The heart here is found in the slow movement, with its clashing dissonances, each one weighted perfectly by Piemontesi, before he can allow the much more innocent finale – complete with cadenza – to bring a measure of catharsis.

Around them are arranged three of Mozart's best-known single-movement piano works. The D major Sonata is prefaced by the D minor Fantasy, Piemontesi brilliantly sustaining its sense of scarcely disguised tragedy until it can be discharged in the almost throwaway coda that was apparently added to the unfinished work after Mozart's death. The D major Rondo K485, meanwhile, that follows the sonata gives him plenty of chances to show just how crisp and precise his articulation can be. The Rondo in A minor is quite different; Piemontesi makes sure that each of its shifting chromatic inflections makes its expressive point, never forgetting that this is a work composed in the 18th century and not one by a romantic composer half a century later.