FOR his first appearance in Richmond, pianist Andrew Brownell presented his reconstruction of the famous occasion in Vienna in 1781, when Emperor Joseph II staged a contest between two renowned composer-pianists, Wolfgang Amadeus Mozart and Muzio Clementi.

Brownell began by introducing the programme, putting it into context and explaining how he had chosen the particular works.

The two Clementi pieces were later documented by him, but the two by Mozart are speculative. As both musicians would have been expected to improvise on their chosen pieces, Mozart’s set of variations on a theme by Paisiello might be as close as we can get to what was performed.

Brownell’s final sequence of little-known piano studies by Paisiello, which Clementi and Mozart were required to play in turn and then improvise upon, was an inspired final touch, especially with Brownell’s own Fantasia on those themes.

The performance itself was a delight, with Clementi’s Toccata, Op 11 bright and crisp with softer passages providing contrast. His Sonata in B flat, Op 24 No 2, which includes a theme later extensively developed by Mozart for his Overture to The Magic Flute, was a well-constructed piece.

Mozart’s Modulierendes Praeludium, K624 began with a grand opening, very effective and dramatic to our modern ears, and his Variations on Salve tu, Domine, K398 showed what magic he could achieve ringing the changes on another’s theme.

The Paisiello pieces were graceful and delicate, with the second lilting and dance-like, and Brownell’s own variations, including at least one Mozartian theme, were imaginative and convincingly played.

After the interval, Brownell showed himself to be just as comfortable with the Romantic repertoire in Schumann’s iKreisleriana, with its alternating fast and slow movements.

He was particularly delicate and thoughtful in the slow movements, just let down by the piano’s deteriorating tuning.