The latest recital in the South Bank's International Piano Series, by the young Macedonian pianist Simon Trpceski, showed a reflective sensibility at work. Trpceski began with a group of Brahms's Intermezzos. Intimate works published just a few years before the composer's death, they need a carefully selected palette of tonal colours to achieve their full effect, and Trpceski's approach was finely matched to this end.

The first of the three Intermezzos, Op 117, based on a Scottish lullaby, was voiced with infinite skill and delicacy, with the sense of perspective between its tender melody and the encircling harmony immaculately realised. Trpceski's ability to separate out the strands of Brahms's intricate textures was just as impressively displayed in the remaining two and in the second Intermezzo from the Six Piano Pieces Op 118, though their larger architectural spans did not always benefit from his tendency to dwell on momentary beauties rather than focusing on the bigger picture.

This lack of a cohesive overview also marred Skryabin's Second Sonata, known as the Sonata-fantasy, which followed. Once again, however, Trpceski's feeling for pianistic colour was apparent throughout its volatile changes of mood, inspired, according to the composer, by the motions of the sea.

Trpceski's second half comprised the two sets of Debussy's Images, which suited him best of all. But it was not only in the slower and more atmospheric pieces that he showed the subtlety of his ear: there was a brittle brilliance to the Hommage à Rameau, whose reimagining of harpsichord textures on a modern piano were purveyed with absolute assurance.