Michael Traub

This was an exceptionally well chosen programme to display the talents of any pianist. The Lithuanian artist, Muza Rebackyte, began her piano recital with Mozart’s

Fantasia in C minor, K. 475,

an independent work which can also be attached to the C minor sonata but was here played on its own.

It formed a suitable introduction to Beethoven’s well-known Sonata Appassionata. Perhaps influenced by what was to follow, Rebackyte gave a powerful rendition of the Mozart, eschewing any suggestion of a Dresden china approach.

All the big climaxes were given with full power yet dynamics were sensitively graded – from very soft to full force.

The Beethoven started out rather loudly for what was supposed to be pianissimo, and thereafter the climactic moments were strenuously loud. Inevitably, the muscular thumping led to a string breaking in the treble. This was probably disconcerting to the pianist, who then omitted the long repeat in the third movement. There were also two memory lapses in the slow movement.

The second half of the programme began with the

Arabesque by Schumann. This was given a sentimental cast, with the rhythm pulled about, to the detriment of the onward flow. The melodic line did not sing out enough.

The same problem with the melodic line was repeated in Schumann’s Carnaval – there was all too often too much sound from less important accompanying figures with the melody buried to some extent.

In Chopin, Rebackyte played the melody line in octaves for the repeat, an effective emendation.

As an encore, the pianist chose Liszt’s Liebestraum

No. 3, a transcription for solo piano of his own song for voice and piano.