Kathryn Stott in Recital Tickets

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As concert-goers, we often associate the term recital with a performance that is more focused and intimate than a typical concert. Recitals are typically an opportunity for musicians to showcase their skills in a solo or small ensemble setting, and can be seen as a venue for more niche classical music programming.

Kathryn Stott's recent performance at the Wigmore Hall in London was just such a recital. The pianist, who has performed alongside many of the world's top orchestras and chamber ensembles, took the opportunity to highlight works by composers that might be less familiar to the general classical music audience.

Stott began her program with Schubert's Sonata in A minor, D 664. This is one of the composer's earlier piano sonatas, written when he was only 22 years old. Despite its relative simplicity compared to some of his later works, the piece still showcases Schubert's fondness for lyricism and inventive harmonies. Stott's playing was delicate and expressive, capturing the youthful optimism of the work without making it seem juvenile.

Next, she played three pieces by French composer Reynaldo Hahn. These pieces were all composed in the early 20th century, during a period when French salon music was at its peak. They were certainly the most lighthearted works on the program, but they provided a nice change of pace from the Schubert sonata. In these pieces, Stott demonstrated her facility with light, playful textures.

After the Hahn, Stott played four pieces by Spanish composer Federico Mompou. These pieces are perhaps the most obscure on the program, as Mompou is not a well-known name among classical music audiences. But Stott made a compelling case for his music - his style is somewhat reminiscent of Satie, with its use of gentle harmonies and repetitive patterns. Stott's touch was particularly effective in the third piece, where she created a shimmering texture that almost seemed to float off the piano.

The final work on the program was Brahms' Variations on a Theme by Paganini, Op. 35. This is one of Brahms' most virtuosic works for solo piano, and Stott did not disappoint. Her playing was fluid and confident, showing off her technical skill without ever seeming showy. The audience responded with enthusiastic applause.

Overall, Kathryn Stott's recital provided an interesting glimpse into some lesser-known corners of the classical music repertoire. And though it may have lacked the bombast and spectacle of a full orchestral performance, it was nonetheless a satisfying evening of music-making.