A beautiful performance of Chopin’s 24 Preludes op 28 in which the beauty of sound and real sense of balance allowed her musiciansghip to shine through what Fou Ts’Ong used to call 24 problems.

I heard her two years ago in Rome in the International Competition of Marcella Crudeli where she reached the final .

It was only her inexperience of concerto playing that gave her third prize instead of first.

Having heard also some very musicianly performances in St James Piccadilly it came as no surprise to be totally absorbed today by her performance of one of Chopin’s most complex works.

Each Prelude beautifully shaped from the calm of the opening that although marked agitato unfolds on its own if allowed to.

The second Lento could have been even more sombre although played with a beautiful sense of balance.

The famous fourth prelude in E minor was played with a grace and shape and very telling phrasing.

The E major n.9 could have been even more simply played as the left hand accompaniment seemed too important and unsteady for the supreme simplicity of the melodic line .

Some slight strain in the more strenuous Preludes as in number 13 in F sharp due to her small hands was beautifully concealed by her real understanding and musicianship.

The raindrop prelude was played with a beautiful lyrical legato and the tempestuous middle section never allowed to overwhelm the calm and beauty of this remarkable prelude.

The B flat minor got spontaneous applause from an audience totally overwhelmed by this sudden explosion of virtuosity from someone so delicate looking Not quite as tempestuous as Martha Argerich but in the context of her interpretation it had no lesser effect.

If the E flat minor showed some sign of strain due to the enormous leaps that Chopin demands in a melodic line almost Alkan like in difficulty the C minor was played with all the nobility that it demands.

The great bells in the left hand in n.17 in A flat could have been even more telling to allow the Debussy like apparition from afar to be even more apparent.

A beautiful cantabile in the B flat major n.21 where the melodic line was allowed to sing almost at the cost of ignoring the extraordinary harmonies in the left.

The great octave Prelude and the final Allegro appassionato were played with great fire and command and the little F major in between was played with a touching sense of colour .

A very fine performance that was played and shaped with great beauty and delicacy in fact as she appears in life.

Sincere compliments from Bryce Morrison the renowned expert on pianos and pianists who complimented her on a highly enjoyable and successful performance.

Beauty ,delicacy and the intelligence from the school of Gordon Green via his renowned disciple Christopher Elton.

Now the search for the elusive simplicity and nobilty that were very much of Rubinstein .