Schumann's Scenes of Childhood is a sequence of 13 short movements that represent a child's experience of domestic life. What remains remarkable is how convincingly the composer re-entered this world of innocence at the age of 28, while avoiding being patronising or twee.

Opening her all-Schumann programme with this work, pianist Angela Hewitt caught its moods with refined sympathy, highlighting the spontaneous excitement of Important Event and the warm security of By the Fireside, as well as the menace of Frightening and the delicate mystery of Child Falling Asleep. Her textures were clear and her use of tempo free and easy, though there was a small scramble of notes in the rushing around during the game of Catch Me.

A bigger challenge came in the sizable Humoreske, a typical Schumann collection of varied character pieces bound into a loose but consistent structure. Once again, momentary lapses of fingerwork in the faster passages marred an account that entered carefully into each section's unique mood - although occasionally Hewitt's tone in the upper half of the keyboard became brash, and elsewhere needed greater definition at Schumann's sudden changes of dynamic.

The final piece was the First Piano Sonata, a weighty and technically difficult work that shows Schumann trying to cram his highly individual ideas into a more or less conventional structure, with mixed results. Hewitt attacked it boldly, with a wide range of tone and a grand romantic sweep that suited its scale. Again, the odd mishap occurred when the notes came thick and fast, but the general picture was sharp in outline and ambitious in conception.