Kathryn Stott’s superb piano recital opened with Bach’s Prelude & Fugue no. 1 in C major.

I liked the rubato touches and light pedalling, gently blurring the harmonies in the prelude. The fugue was powerfully delivered.

I have never thought that Grieg’s Holberg Suite was particularly dramatic, but this performance by Ms Stott certainly was. 

The Praeludium, for example, was not only energetic, but was even Beethovenian in its intensity.

The rendition of the Air was incredibly persuasive with the music sounding like Shostakovich, angst-ridden, emotional. The final Rigaudon positively fizzed and sparkled like a musical firework. Rachmaninov had, evidently, doubts about the Variations on a theme of Corelli.

I suspect those doubts would have been dispelled if the great man could have heard this stunning performance. By sheer force of musical personality, Kathryn Stott mapped this set of variations into an emotional and intelligent musical journey: it was simply breathtaking.

Ravel’s Le tombeau de Couperin was a real joy. The opening Prelude was quixotic, utterly Ravel – an extraordinary flight of fancy, impeccably delivered.

The Fugue was wonderfully articulated as was the Satie-esque Forlane and the dignified Menuet. The Toccata was beautifully delivered, a percussive delight. Framing the programme was Shostakovich’s magnificent Prelude & Fugue no. 24 in D minor.

Again, the performance was utterly compelling. From the dramatic starkness of the opening prelude to the almost childlike themes of the double fugue, Kathryn Stott conjured a real edge of your seat musical experience.