The chosen programme of master musicians Ralph Kirshbaum and Peter Frankl showed their flawless technique and mature understanding, in full measure.

Beethoven's Sonata in C, Op.102, No.1, its opening 'Andante' echoing phrases between cellist and pianist, was given tempi, rubatoed sensitively, and expression, graded finely, prior to the musicians plunging together into the 'Allegro vivace'.

The cello was caressed on long low notes as the 'Adagio' began, but soon the audience was being amused by the performers making witty imitative responses.

In Sonata in D minor, Op.40 by Shostakovich, Frankl engineered a jangley, fiery effect for the first 'Allegro', against Kirshbaum's high- pitched repetitions, and in the uncluttered, gaunt 'Largo', the cello, stark yet melodic, reinforced the sparseness of the piano's pedestrian progression. The broadest keyboard range had been used, with particular effect being made by the bass.

A further superlative interpretation was Britten's Sonata in C, Op.65. 'Dialogo' showed impeccable rapport as the initial offbeat comments were placed immaculately. 'Scherzo- pizzicato' was ultra together as the cello was plucked in quick snaps of tune, and the piano responded in short bursts. The cellist's last comic phrase and pianist's single full stop note had the audience laughing.

The last two movements, technically very demanding, paraded glissandos from both, furious double octaves alternated with light-as-feather figures from the pianist, and sudden slides by the cellist.

A powerful and insightful interpretation of Beethoven's Sonata in D, Op.102, No.2 ended this wonderful concert. Here the cello's sublime tones rose in wistful phrases during the 'Adagio con molto sentimento d'affetto', while the piano progressed in harmony defined exquisitely; the fugal 'Allegro fugato' developed into a commanding finish.

Next in this series is a concert of Mozart's string ensemble music, on Thursday, November 28.

Jill Hopkins