Angela Hewitt's reputation as a pianist has been built largely, though not exclusively, on music written before the modern piano. And, indeed, in this recital, her Rameau and Bach convinced more strongly than her Beethoven.

Hewitt began with the seven-movement Suite in A from Rameau's Nouvelles Suites de Pièces de Clavecin and what was immediately striking was the flurry of ornaments and decorations - a trill or turn seemed to come on every second note. Yet she managed to ensure these did not get in the way of the melodic lines, and by the time she was beaming her way into the light, elegant fifth movement, Fanfarinette, the ornaments had become so much a part of the music's flow you barely noticed they were there.

Bach's French Suite No 4 called for and received a much cleaner, almost unadorned style of performance. This, one senses, is the composer closest to Hewitt's heart. There is more fun in the skipping Courante than she brought out for us here, but the closing Gigue went with an ebullient swing. In between these two, Beethoven's Sonata No 8, the Pathètique, found Hewitt in more aggressive mode, bringing out the angular inner lines, taking crescendos right into harshness and generally favouring crispness over shape.

Where the mood turned introspective, she seemed unwilling to sustain it for long. And in the same composer's C major Sonata, Op 2 No 3, an earlier but more expansive work, the undeniable liveliness of her first movement, and the easy fluency with which she launched the finale, were marred by some foursquare phrasing and a determination to bring out all of Beethoven's marked accents and more besides. I was too far away to see whether she was gritting her teeth, but it sounded that way.