Where to begin with Mahan Esfahani. Breathtaking? Hypnotic? Try gobsmacking. The young Iranian-American harpsichord virtuoso is all of these, and more. An intense, expressive presence at the keyboard, he’s also an exceptional communicator, whether via the music itself, in interview, or through the informative, wide-ranging ‘programme notes’ that he delivers live to enhance the understanding of sections of his recital. Known here for his award-winning recordings of Rameau and CPE Bach, Esfahani is equally passionate about contemporary repertoire. A rara avis on today’s early music scene, he earns a living as a solo harpsichordist entirely uncommitted to a particular ensemble and eschewing employment as a continuo player. Good for Brisbane Baroque, then, which had the smarts to present the Australian debut of this fascinating and multifaceted artist. And he didn’t disappoint either, in an absorbing, penetrating and passionate couple of hours that left the audience as breathless as the performer.

The cornerstones of Esfahani’s finely crafted programme were masterworks by JS and CPE Bach – a partita and a set of variations by the father, an earlyish sonata by the son. Contextualising these twin peaks of the repertoire were works by Frescobaldi, a rare Praeludium by Bach’s older brother Johann...