Canadian pianist Angela Hewitt has played the music of Gabriel Fauré all her life. As she admits in her notes, he is an elusive composer. Aspects of Schumann surface in his early Nocturnes, their accompaniments containing tricky cross-rhythms, yet the Valse Caprice No 1, Op 30 has all the surface sparkle of Saint-Saëns. Fauré is too subtly complex to be regarded as a mere salon composer, although for years that is how pianists thought of him. Hewitt is aware of the contradictory sides composer, and does not restrain herself in terms of sheer power of attack when necessary.

The central part of her program consists of three Nocturnes. No 6 in D Flat is the best known, a waltz with a seemingly simple (but harmonically unpredictable) opening melody supported by rippling arpeggios. No 13, from 1921, pares back all superfluous decoration to reveal the composer’s final thoughts for his favourite instrument (like Beethoven, Fauré went deaf in old age). Hewitt’s phrasing, dynamic variations and strength serve the composer well.

Her recital closes with the early Ballade (later scored by the composer for piano and orchestra). Here I felt her to be too heavy-handed. The dry, light touch of Jean-Philippe Collard seems...