There are basically two ways of playing classical keyboard music, either to be mindful of the limitations of the instruments it was written for, or to utilize the full potential of the modern grand piano. She chose the latter approach, for which I was grateful. This allowed her to display her limpid and varied touch and she was not afraid to use subtle rubato where appropriate. Her reading was expressive but not overly romanticized and the impetuous finale was played with élan, though clarity was sometimes compromised by over-use of the sustaining pedal.
The Debussy Images Book 1 was preceded by Takemitsu’s Second Rain Sketch, music which is deeply indebted to Debussy as well as to Messaien its dedicatee. As in the Images that followed the playing was spellbindingly evocative, we were awash with colour. She has a wonderful ability to use dynamics to create a sense of foreground and background. In the succeeding Reflets dans l’Eau, music of almost Lisztian bravura but without his preposterous vulgarity, her wonderful control of keyboard texture was striking,
In Mussorgsky’s Pictures at an Exhibition she brought out the character of each piece superbly with powerful attack for the Gnome, peasant strength in Bydlo the ox-cart, the virtuosic chattering of Limoges, a huge dynamic range in Catacombs, percussive attack emphasizing the discords in Baba-Yaga and the gloriously rich tonal palette for the Great Gate of Kiev.This work is more often heard in the Ravel orchestration and a performance of the piano original can sometimes seem to lack impact. Such was the power of her playing (and the quality of the hall’s instrument) that we didn’t miss a full symphony orchestra for a moment. As a bonne-bouche she gave us more delectable Debussy.