Performance: Stephen De Pledge

Auckland Town Hall

Review: Heath Lees

The last time we heard this New Zealand pianist was early this year, when he played a short Gershwin item with the Auckland Philharmonia.

Last night's solo appearance was much more satisfying. De Pledge's pianism is fastidious, and when he mixes this quality with his highly developed feeling for colour and shade at the softer edges of the piano's spectrum, he produces breathtaking moments.

There is elegance too, as was obvious from the opening Haydn sonata, played with a musical intelligence that invited a smile over the composer's harmonic teases as much as it drew one's admiration over the gentle but deliberate sculpting of the phrases. Where De Pledge disappoints is in his unwillingness to take risks when the passion of the music requires speed, strength, and high-wire daring.

Frequently, the sonata by Balakirev - a fabulous work, yet rarely performed - needs the effect of foot-to-the-floor as the climaxes build, but De Pledge often hung back, so what should have been a full and soaring tone was unduly self-effacing. On the other hand, the inner spring of the rhythms in the work's mazurka were cause for delight, as were the textures, altering beautifully from rough, peasant dance sounds to tingling, sleigh-bell effects.

Balakirev's sonata owes much to the famous Piano Sonata by Liszt, so it seemed natural that works by the latter composer should also appear.

Again, De Pledge's preference for caution in the trade-off between nuance and power meant that the Mephisto Waltz was lively but hardly diabolic.

By contrast, the Benediction de Dieu seemed uniformly magical, and the piano gave the effect of communing with itself as De Pledge highlighted its ecstatic harmonies, warm undulating accompaniments and haunting melodies.

As encores, Bach's dreamy aria from the Goldberg Variations, and Samuel Barber's boisterous Hesitation Tango were delightfully contrasting.also formed a delightfully contrasting pair.