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The two discs present about a third of the sonatas, and throughout the recital Mr Fuller may imaginatively vary a repeat. A couple of the sonatas come from Salzburg, and the start of the G major K283 has Mozart at nineteen playing Haydnesque tricks, and delighting in the sort of non sequitur he rarely allowed himself [listen -- CD1 track 4, 0:00-1:00]. If it is vexing not yet to hear the powerful Paris sonata in A minor, the 'Turkish' Rondo (the forte would be a pleasant alternative to the ubiquitous mobile telephone), or indeed the B flat Sonata K333 I laboured over as a young teenager, there is compensation enough in the late sonata in the same key K570, to which some pseudo-Mozart added a violin part very early in its career. Fuller plays it without string accompaniment, and it may be a relief to him that the last two movements are again without Mozartian dynamics. This is how he begins the work, where long stretches are specifically piano [listen -- CD2 track 1, 0:01-1:11]. Paradoxically the finest work here is not a sonata but the C minor fantasy of 1785. Fuller has decided, perhaps wrongly, that this highly dramatic piece, in which dynamic niceties are paramount, does not form a massive introduction to the C minor Sonata Artaria published as its companion soon after the ink was dry. Never mind: the appetite is whetted [listen -- CD2 track 4, 0:37-1:46].

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