As a young pianist, you can win practically every competition going – as Daniil Trifonov did two years ago – and still feel you have something to prove. This was a showman's programme that left no doubt as to the brilliance and power of Trifonov's playing, reinforced by three encores.

He leapt at the opening crashes of Stravinsky's Serenade in A like a cat pouncing on a mouse; the fast episodes in particular were dazzling, with Trifonov picking out heavily accented melodies from cascades of notes that otherwise coursed up and down with delicious lightness. The second of two pieces from Debussy's Images, entitled Mouvement, seemed to revolve around a motor purring in the middle of the keyboard while bells rang either side.

Then came the first four of Ravel's Miroirs, brilliantly dispatched – yet here the easy clarity that characterises Trifonov's playing began to seem a double-edged sword. Did Ravel ever mean us to hear every note of these pieces? With every detail sounding, and with nothing smudged, the third of the Miroirs, Un barque sur l'océan, took on extra ballast. Not that this weighed down Trifonov's playing, or indeed his person: towards the end, he created an explosion of brilliant sound that saw him lift clean off his seat. Trifonov's precision was perfect for the last Ravel piece in his set, Alborada del gracioso, his impossibly fast repeated notes conjuring up the sound of clacking castanets.

Schumann's Op 13 Etudes Symphoniques crowned the programme, drawing out a convincingly romantic sensibility from Trifonov, who gave the impression of playing with passionate abandon while in fact maintaining taut control. He was generally a touch heavy on the sustaining pedal, but the sweetness of his sound during the quiet variations held the audience rapt. Yet this was a programme that kept the audience at arm's length: if anything was lacking, it was the experience of being moved.

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