The Argus: Brighton Festival ThumbStephen Hough's recital at the Corn Exchange was distinguished by a range of sound above and beyond those made by piano hammers on the strings. In a programme of music distinctive for percussive brilliance, the young polymath - pianist, composer, writer and theologian - achieved a harmonic complexity and depth perfectly congruous for Scriabin and Janacek, which made Beethoven sound curiously contemporary.

The opening Beethoven Sonata, Op 27, The Moonlight, is a dangerous choice. Pianists must risk comparisons or quirkiness with music so familiar. This account said nothing new, even if it said it very well, particularly in the singing inner voices of the Allegretto. Far less well known is the nationalist battle cry From The Street by Janacek, a wonderful composition which passed melodic invention between the hands, forever removing the old piano idiom of left-hand accompaniment to treble tune. Equal partners all, just as Janacek hoped for his country in Europe.

But if ever piano music was written specifically to display all Hough's virtuosity, lyrical intensity and emotional commitment, it was two Scriabin Sonatas, Op. 3O and Op. 53. Anticipating Gershwin in their syncopated rhythms and modal tones, these concentrated, dramatic and difficult pieces were perfectly played by a master.