A cycle of the Beethoven sonatas is a major undertaking for any pianist, but Paul Lewis has already won plaudits for his earlier Schubert series and is clearly eager for an arguably even greater challenge. Indeed, there were moments in this second programme of the sequence when his lyrical tone brought Beethoven's younger contemporary to mind.

Lewis's strengths lie partly in his ability to profile melodic lines while maintaining a heightened awareness of complex inner parts. This was evident in the opening G major Sonata, Op 14 No 2, whose textures were lucid and whose formal architecture was cleanly articulated. But his understanding of the bigger picture didn't preclude the highlighting of individual moments. His knowing glance at the audience as he dabbed at the last movement's final gesture encapsulated the throwaway joke in the music.

Lewis brought a brisk, businesslike momentum to the Andante's set of variations. The larger B flat Sonata Op 22 also benefited from his feeling for the music's character, though a tendency to hold the rhythmic structure a little too tightly sometimes denied it room to breathe. The decorated aria-like melody of the Adagio needed more air between its phrases.

In the second half, Lewis's strong sense of the identities to be defined in each movement of the E major Sonata, Op 14 No 1, and in the Waldstein, was as assured as his apparently easy technical command. There was a sense of vision, too, in his exposition of the Waldstein's grand and spacious thematic material - presented with plenty of drama, yet avoiding rhetoric - and in his confident unfolding of its overall scheme. But once again an occasional suggestion of a young pianist in a hurry prevented the music from flowing naturally. With so much of the overview already in place, Lewis can afford, in all senses, to take his time.