It was nice to hear Dr Hugh Mather describe the first part of the concert today as ‘sensational’.

At the end of the recital his mentioning so enthusiastically the carisma and flair of Evie and that she sounds as though she is improvising such is her complete command of the keyboard.

Evelyne Berezovsky had stood in at short notice for an indisposed Lara Melda in a season that includes many of the finest young musicians in the land and it was nice to have the opinion of a real expert.

Infact the only person that one could compare her with is the young Argerich for her improvisatory style where communication and love for music hold you enthralled from the first note to the last.

You may not agree with all that she does but she convinces you in that moment with the way she can make every note speak so directly to every member of the audience.

I had recently heard her in a similar programme and my views coincide completely with Dr Hugh Mather today.

The second half I had heard before and I am glad that the slight cuts I had suggested in the Messiaen brought to perfection her extraordinarily moving performance today.

An encore of the Scarlatti Sonata in D minor L 413 was played with a freedom and flexibility that was exactly like an improvisation with such sparkling embellishments.

The first half was new to me and there was indeed some superbly stylish playing.

Some really exquisite shading in the Schubert Impromptu in B flat that opened the programme.

A jeux perlé of such delicacy and subtle rubato .Every note spoke so eloquently and the ending was pure magic.

Beethoven’s so called poor relation to the “Moonlight” Sonata was given a reading that immediately put it back on the unique pedestal that Arrau would demonstrate to us.

A very beautiful opening that in this Sonata op 27 n.1 it immediately became apparent the title of Sonata – ‘quasi una fantasia.’

A great attention to the detail and dynamic contrasts that Beethoven asks for created the same magic as the “Moonlight” sister sonata op 27 n.2.

The Allegro middle section was played with great rhythmic drive and absolute attention to the dynamic contrasts that made the reappearance of the main theme even more poignant.

The final few bars were played with such subtle artistry that the sheer beauty created belies the few notes that Beethoven spreads over the whole keyboard.

The Allegro molto e vivace was played with the great Beethovenian rhythmic contrasts and if she quite unintentionally mislaid a section it had no importance when she played the Adagio con espressione with the same heartfelt beauty as Beethoven’s third concerto.

The Allegro vivace immediately burst out of this magic bubble that had been created.

Full of sudden telling contrasts in dynamics and a rhythmic foreward movement that was quite infectious.

The emergence of the Adagio before the coda made us realise in her sensitive hands what a genius Beethoven was already in these early works.

It was in the Scherzo n.2 by Chopin that one was reminded of the early performances of Argerich.

I remember in the first concerto with Argerich where one could marvel at the colour,control and fire but could also feel that the aristocratic nobility of Rubinstein was too often substituted by an improvisatory style that was on occasion a little too wayward.

I found the middle section a little slow but when it is played with such poetry and deep nostalgia how could one not be totally capitivated. Her technical command and total authority were overwhelming.

Evelyne Berezovsky was born in Moscow in 1991, the daughter of the eminent pianist Boris Berezovsky. She started playing the piano at the age of five and two years later joined the Purcell School of Music. She then studied at the Royal Academy of Music in London with Hamish Milne, in Italy with Elisso Virssaladze, and with Rena Shereshevskaya in Paris. She has played in public since she was 7 years old and appeared with the orchestra for the first time at the age of 11. Since then she has performed at major venues in London, including the Wigmore Hall, St. John’s Smith Square and the Southbank Centre, and at concert venues in Germany, Belgium, Holland, France, Norway, Russia and Japan, including a recital at the prestigious piano festival in La Roque d’Antheron. In February 2012 she won First Prize in the Lagny-sur-Marne International Piano Competition in France. Following this, she has been regularly invited to play on Radio France, including a performance at the Fête de la Musique which took place at the Olympia, Paris. Evelyne has given concerts and recitals in the UK, France, Belgium, Germany and the USA, including performances at Lorin Maazel’s Festival in Castelton, VA and Steinway Hall, New York. She has performed with London Musical Arts Orchestra, Enschede Symphony Orchestra, Hulencourt Soloists Chamber Orchestra, Tokyo Mozart Players, Musica Viva, Thailand Symphony Orchestra and North Czech Philharmonic, and the Latvian National Symphony Orchestra.