Steven Osborne's complete recording of Ravel's piano music was one of last year's outstanding keyboard releases. Now to mark the 75th anniversary of the composer's death, Osborne is repeating the cycle in a pair of concerts around the country.

Such a survey has to feature quite a number of one-off miniatures, and Osborne included eight of them as an unbroken group in this first recital, including the not-so-miniature Pavane pour une Infante Défunte and Jeux d'Eau, Ravel's early excursion into watery impressionism, which pre-dates anything similar by Debussy. The crystalline straightforwardness of Osborne's approach to Ravel – clean, sparkling textures without a trace of soupy pedal effects, exactly weighted chords and textures – proved as effective in characterising these smaller pieces as it did in the major works around them in his programme.

The Sonatine and the utterly different Gaspard de la Nuit had occupied the first half – the Sonatine neoclassically poised and restrained until the animé finale, when Osborne showed his teeth for the first time. Gaspard built slowly and implacably too, so that the fierceness with which the climax of the final Scarbo arrived was as overwhelming as it was unexpected – far more vicious than it seems in his recording.

If anything, though, the climax of the programme's final work was even more fiercely worked. The solo-piano version of La Valse was a preliminary stage in the composition of what became one of Ravel's greatest orchestral works. The cataclysm with which it all ends – the sound of European civilisation disintegrating – may not be as colourful in the keyboard version, but Osborne made sure it was devastatingly potent.

• Repeated at Perth Concert Hall (01738 621031) on Tuesday. The remaining recital in Osborne's survey of Ravel's piano music is at the Wigmore Hall (020-7935 2141) on 16 June.