Daniel started with a performance of Bach’s Italian Concerto which was thrilling in the speed of its outer movements but retained the proper elegance of the central arioso. Lebhardt also excelled in bringing out the different voices from within Bach’s complex counterpoint. This was followed by Schubert’s delightful Drei Klavierstücke, a set of Impromptus left unfinished at his death. The three pieces were given appropriate characters with contrasting light and shade in the different sections including some beautifully hushed quiet passages. The first piece was full of brio in the allegros with a meditative central section; the second had an elegant lilt in the barcarolle and urgency elsewhere without losing the essential lyricism; the third was almost Beethovenian in the intensity which Lebhardt gave to its syncopations.

Beethoven followed after the interval with the second of his early op. 2 sonatas, full of echoes of Haydn and Mozart but with harmony and drama typical of Beethoven. This is young man’s music and Daniel Lebhardt’s playing was beautifully judged – crystal clear runs and a wonderful legato  – and, in the slow movement, the constantly returning rising bass figure precisely picked out.

But the highlight of the eveniing was Rachmaninov’s second sonata, all its technical challenges and fearsome pianism  carried through with exceptional skill and complete dedication.  There was much to wonder at – sometimes giddying speed, chords of enormous power, but always room for contrast and the coaxing out of those melodies for which Rachmaninov is famous. Loud and insistent applause rightly followed and was rewarded by an equally entrancing performance of the G sharp minor Prelude.

CJS