IT is impossible not to feel admiration at the decision of cellist Dawn Gwilt and pianist Janine Smith to play both the Bantock and Rachmaninov Sonatas in a single evening, and then not to feel dissatisfaction at criticising this choice.

Both these works are in the epic model of late Romanticism and both are packed with expressive opportunities and bravura passage work.

Yet on the whole the piano playing seemed reserved and lacking momentum in the opening movement of the Bantock. The duo's dynamic range was unduly limited and not helped by the poor acoustics.

Both intonation and articulation were shaky in places and the architectural perspective seemed lost in the vast scale of the endeavour.

Although the inner movements of the work proved charming, the finale of the Bantock lacked vital pulse and much of the linking material in the piano seemed under-exploited.

The solo performance of the three piano pieces by Bantock was another welcome revival of a forgotten gem played with dexterity and conviction, but again lacking true pianissimo where required.

The slow introduction to the Rachmaninov was well played but this youthful work needed, at times, more passion and conviction than was offered.

Passages of percussive vigour were delivered in a matter-of-fact fashion and the "comfortable" characterisation of the music did not project the music forward effectively.

The second movement brought new insight, both performers achieving parity and purpose.

The finale was delivered in grand rhetorical style but presents special problems of ensemble and design because of its size.

The players acquitted themselves with honour if not truly getting under the skin of either of these difficult works. DL