Pianists naturally programme works with which they have an affinity - you are unlikely to hear Alfred Brendel playing Scriabin and Tchaikovsky, for instance. But just what it was in Mihaela Ursuleasa's enterprisingly eclectic recital that appealed to her, and was intended to bring the best out of her pianism, remains a mystery.

The 29-year-old Romanian comes with an impressive track record of competition success and prestigious concert appearances, so the talent must be there somewhere. But little of it shone through in this programme, until the very last item, Ginastera's First Piano Sonata.

Up until that point, the recital had been a drab, disappointing occasion. Medtner's Sonata-Reminiscenza had shown the cool clarity of Ursuleasa's quiet playing, but she totally failed to articulate the structure of the single-movement form with any conviction or dramatic sense, so that the music collapsed into an amorphous mass of late-romantic swoonings.

Most of Schumann's Fantasiestücke had been featureless too, quite an achievement in music that should ooze personality and witty charm. Humour was utterly lacking, even in the fourth number, Grillen, where Schumann specifically requests it.

Any sense in which the eight numbers build into something more than the sum of their parts also had to be taken on trust; responses to Schumann have to be personal, otherwise there really is no point in playing him, just as there is little point in programming Ravel's Gaspard de la Nuit unless you have an imagination tuned to the subtleties of piano sonority. This performance presented most of the notes, but nothing more.