Both artists had solo spots and Sergio Tiempo played a group of Chopin Preludes. This young pianist has a formidable technique, he can clearly cope with anything he’s presented with and the more virtuosic preludes were brilliantly done. His is an exciting talent but one that needs taming. His soft playing is lovely but the tone can harden in louder passages and his impetuous way is not always an advantage, especially when he is accompanying, as in the first of the two duo sonatas they performed.

The Mendelssohn 2nd Cello Sonata piano part was composed for a much lighter-toned instrument than the modern concert grand that Shostakovich wrote for nearly a century later. Mendelssohn’s deft piano figuration can easily overwhelm a cello’s naturally reticent tone as was the case at times in the outer movements in this performance. Balance in the scherzo was much better and in the slow movement the interaction of the rich piano chords and an eloquent cello line was very striking.

The Shostakovich sonata went well. Even with the piano lid now fully open most balance problems were solved. The composer’s almost nervy changes of mood were well caught. Natalie Clein responded whole-heartedly to the music’s varying emotions, the yearning almost romantic sections in the first movement, the savagery and grotesquery of the scherzo, the bleakness of what followed and the black humour of the finale.

G.K.