ADVERTISING a piano recital to be played on an 1828 Broadwood grand piano could have been a risky policy.

After all, we live in an era of concerts performed on modern metal-framed pianos which stay in tune and produce a predictable sound.

David Owen Norris relished this opportunity to demonstrate, to a full church in Stockbridge, the extra resonance of his piano and its enhanced range of dynamics due to its ability to move the entire keyboard sufficiently to direct the hammer to play on only one string out of three, thus producing a very different sound.

His passionate interpretation of Haydn’s Sonata in E flat major stunned the audience. After his performance of Mendelssohn’s Sonata in E major, David asked the audience if anybody had heard it before. Not a hand went up as he explained that people don’t play it any more as it doesn’t sound exciting on a modern piano. However, on his piano, the end of the second movement, with its fortissimo chords and descending octaves, was a huge moment to behold.

David has an irresistible enthusiasm and joy for his music. He demonstrated that each key only needs to be depressed half as much as the modern piano, thus making it possible for the pianist to take the runs at full speed with complete accuracy: members of the audience sitting at the back of the church were amazed how distinctly they heard each note, loud or soft.

Throughout the evening, particularly during his playing of Beethoven’s Sonata (Pathetique), the audience, and I repeat the word, was stunned into silence, listening to familiar music (apart from the Mendelssohn Sonata) and yet hearing a different sound – a rare privilege.

David ended his programme with Mendelssohn’s Rondo Capriccioso, which became a favourite virtuoso piece in the 19th century. His skills are such that he seemed to float over the key board with some rapidity. The end product was electrifying.

Tim Lowden