The newly restored splendour of Birmingham's Town Hall cannot make up for empty seats, and there were far too many of those for the Macedonian pianist Simon Trpceski to look anything other than slightly glum at the final recital of his short British series.

It was perhaps not surprising, then, that his opening account of Scriabin's second Sonata, Op 19, for all its brilliantly virtuosic sweep and stormy drama, seemed to hold something in reserve. Chopin's second Sonata in B flat minor followed. While Trpceski made the flowing melodies, including that of the funeral march, sing from the heart, his interpretation was sometimes quirky to the point of being mannered, with neither the assurance nor the authority one might have expected.

After the interval, Brahms's three Intermezzi, Op 117, found Trpceski at his most reflective and expressive. He realised the quiet intensity at the heart of late Brahms while allowing the momentary surges of passion to flare up. The warmth and clarity of the fast passagework meant that the Children's Corner Suite by Debussy was also convincing, notably the jazzy humour of the final cakewalk, but it was only in the same composer's L'Île Joyeuse that Trpceski seemed at last to relax and play with the conviction of a pianist born to communicate.

Having got into the groove, he played five encores - mainly Debussy, for whom he has an evident affinity. Significantly, though, it was another contemplative Brahms Intermezzo, the second from Op 118, that showed the insight of the master pianist that Trpceski is becoming.