“Compared to four books of pieces by Couperin and volumes upon volumes by JS Bach and his family, this is indeed a slim output. But what a wealth of genius it reveals. What excitement and wit and drama.” Thus writes Mahan Esfahani of the Baroque opera composer Jean-Philippe Rameau’s complete Pièces de Clavecin, which comprise a mere five suites and two or three stand-alone pieces.

“Wealth of genius.” “Excitement and wit and drama.” Surely such phrases could also apply to the 31-year-old Iranian-American harpsichordist’s own output. He’s only made three solo harpsichord recordings so far, the first of which, devoted to CPE Bach’s Württemberg Sonatas (also for Hyperion), created a sensation when it was released in early 2014 and went on to win a slew of awards. But, along with Esfahani’s numerous acclaimed solo recitals and appearances with many of the world’s finest period instrument ensembles, it’s been enough to establish him as, well, somewhat of a genius.

Playing a sensitively restored two-manual Ruckers-Hemsch harpsichord in the Music Room at Hatchlands Park in Surrey, Esfahani here takes us on a journey through Rameau’s three collections – the Premier Livre...