LAST Friday’s British Music Society concert saw Alexandra Dariescu contrast and reconcile Romantic piano music with that of the early 20th century.

A pair of first opuses began the recital: Schumann’s Abegg Variations of 1831 and Szymanowski’s Nine Preludes (finished in 1900).

Dariescu set out the theme of Schumann’s early work with precision, the octaves of the melody carrying with clarity. The subsequent variations showed a range of expression and no small degree of virtuosity.

Szymanowski’s Preludes resembled Chopin with a more reserved sensibility; however, they were played with a directness that managed to show their originality.

The first half ended with an arrangement of music from Tchaikovsky’s ‘Nutcracker’, bringing Christmas to the Lyons a little early.

Shostakovich’s 24 Preludes from 1932 represented the only true 20th century works in the programme. These individually concise pieces echoed Charles Ives in their motivation, referencing and parodying styles, including the Romantic piano literature, of which they superficially form a part.

All 24 represented a substantial work, but a real gem that brought the rest of the evening’s programme into sharper focus. Dariescu brought out the humour, contrasts and pleasing discontinuities of the Preludes with flair, showing a real passion for this music.

Chopin’s Scherzo No. 2 closed the programme with crashing virtuosity balanced by tender lyricism. In the light of the Shostakovich, this somewhat overinflated Romanticism seemed to parody itself.

- Martin Scheuregger