BERNARD Roberts is, in my opinion (and I hope he will not take exception to my describing him so) a pianist of the ' old school' - but none the worse for it, I hastily add.

Kendal Midday Concert Club's usual capacity audience witnessed the appearance onstage of the almost Pickwickian figure, followed closely by his attendant page-turner (solo pianists these days tend not to play from music - but how well she carried out her duties).

Then, midway through the recital, came an engaging reminiscence about his mother and, at the end, a grateful handshake of thanks for his efficient assistant.

I found all of this agreeable and comforting - the principles and ideals of yesteryear are not entirely forgotten.

His programme of Beethoven's Sonata (Op.101), three Debussy Images and Brahms' final Four Piano Pieces (Op.119) showed contrasting perspectives of Mr Roberts's pianism.

Despite early tension, his Beethoven performance exhibited beauty of tone, command of dynamic range and cantabile, rhythmic precision, interesting pedal work and spacious phrasing.

Membership of the 'old school' allowed occasional notational misdemeanours but poetry was there and that really matters.

The Debussy pieces were less successful.

Amid much glitter and shimmering of textures there was, perhaps, insufficient attention given to searching for a delicate, liquid, pianissimo quality of tone that is so necessary for a convincing performance.

With Brahms I feel that Mr Roberts is at ease and comfortable.

The Four Piano Pieces brought forth some wonderfully warm, fluid playing which delightfully illuminated their contrasting textures while the encore (Brahms, again) was almost the best of them all.