LINDY Tennent-Brown, a young New Zealand pianist on the threshold of a career on the concert platform (currently continuing her studies at the Royal Northern College of Music), was the guest artiste at this recital.

Bach's Toccata in E minor showed her excellent contrapuntal understanding. The voices were perceived clearly in the second section double fugue and the later three-part fugue was displayed fluently, its complexity of texture and ever heightening tension evidence of her assured technique.

Four of Kodaly's Nine Piano Pieces, Op. 3 were suited ideally to her youthful approach. In each piece, episodes of repeated notes or chords occurred and snatches of melodies were flavoured with whole-tone variants. Again, Tennent-Brown's keyboard expertise was clear in exposed hammering octave passage and the concluding bravura scale descent.

Schubert's Sonata No. 18 in G, Op. 78 and Beethoven's Sonata No. 28 in A, Op. 101, both extensive compositions, made far-reaching perceptive demands on the pianist, which are being developed still.

The Schubert Menuetto movement tripped along through snippets of beautiful melody, traversing key changes and slight melodic variations. The Rondo, with it's witty ritornello and quieter, more intimate references, was a delight.

The final fugue of the Beethoven, was perhaps the most successful part of this work. Here Tennent-Brown's empathy with the polyphonic style came to the fore and her strong finger work (especially in the bass) and variety of expression employed gave credence.

JILL HOPKINS