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Even in this sonata, which includes nothing faster than an Allegro moderato, that was too much of a good thing.

Well imagined and sustained, the strongly figured movement at the entrance of the contra-theme is somewhat quickened, but the first moderato again returns.

Despite its moderato tempo marking, the cool, stern first movement has restless energy and startling shifts of harmony, conveyed with articulate grace in this splendid performance.

After an opening Allegro moderato movement that conveys aspiration, blithe, frolicsome passages in the Scherzo assert mounting anticipation.

Mr. Biondi’s cadenzas in the concerto’s Allegro moderato and its Adagio were Haydnesque in their spirited quirkiness, and he added further twists to that of the Adagio when it was repeated as the evening’s encore.