French pianist Alexandre Tharaud's recitals tend to be wayward if fascinating affairs – insightful and perverse in equal measure. The centrepiece of his latest concert was his transcription of the Adagietto from Mahler's Fifth Symphony – a surprising undertaking, perhaps, though we should also remember that Mahler made a number of piano-roll recordings of his own, rather straightforward arrangements of songs and symphonic extracts.

Tharaud's transcriptive model, however, is seemingly not Mahler but Liszt. That famous melody is soon surrounded by rapturously swirling arpeggios. There are crashing chordal climaxes. The introverted passion of the original is transformed into a grand virtuoso drama that thrills by its very excess. It brought down the house, but had strayed very far from Mahler indeed.

The first half of the recital consisted of an eclectic Mozart sequence played without a break and closing with the Sonata in A K331. Tharaud's Mozart is big-boned and heavyweight. He's never inelegant, but you're stuck by the grandeur of his manner and sound, his exaggerated dynamic range, and his tendency to over-pedal. The baroque-sounding Suite K399 was stiffly assertive, while the Gigue K574 sounded spikily modern. The sonata's Rondo Alla Turca turned into a battle with someone's mobile, its laid-back tone turning angry whenever the damn thing went off.

Tharaud closed with Schubert's Four Impromptus D899, which he did wonderfully well. Once again, the style was big and the approach assertive, rather than reined in, but he got to the heart of the beauties and abysses of this music. The disorientation and the grace of the C Minor Impromptu was marvellously judged, while the snarling left-hand trills that threaten the calm of the G flat Impromptu left a sense of unease that lingered long after its great melody had died away.