Pianist Mishka Rushdie Momen delivered a richly varied performance that spanned centuries of keyboard music, including works by French Baroque composers François Couperin, Jean-Philippe Rameau, and Élisabeth Jacquet de la Guerre, as well as pieces by the English Renaissance composer John Bull and the 20th-century French composer Maurice Ravel. Momen's interpretation of the Baroque repertoire was marked by a natural grace and fluid technique, allowing the music to unfold with clarity and emotional nuance while staying true to historical performance practices. Her rendition of the Allemande from Rameau’s E minor suite was described as flowing with the clarity of a clear stream, while her slower, more contemplative approach to the Musette en Rondeau offered a fresh perspective on a typically brisk harpsichord piece. Decorative elements, such as the feathered trills in Rappel des Oiseaux, were abundant but never overdone, showing a refined sense of restraint. Momen’s playing was also marked by a powerful, expressive tone, especially in the earthy, rhythmic Provençal tambourin and the lively rigaudon, which carried a swagger reminiscent of a sailor’s dance. The program included Ravel’s Prélude from Le Tombeau de Couperin, a piece that evoked imagery of sunlight and rain, with Momen’s precise trills echoing the 18th-century origins of the music. She also brought a cool, intellectual quality to the Fugue and concluded the set with a surprisingly solemn and weighty performance of Pavane pour une Infante Défunte, a piece known for its melancholic beauty. One standout piece was John Bull’s Walsingham, a complex and virtuosic late-Renaissance work from England. Momen began with a spacious, deliberate opening, but later passages were filled with dazzling technical fireworks, with her hands moving rapidly across the keyboard. Her performance of the Prélude from Jacquet de la Guerre’s second suite in G minor was marked by an improvisatory feel, while her handling of the Allemande and Courante was both precise and elegant. Couperin’s Forlane from the fourth Concert Royal was noted for its close resemblance to Ravel’s Tombeau, which Ravel himself borrowed directly. The program concluded with Momen’s pristine interpretation of Le Tic-Toc-Choc, a technically demanding piece by Rameau. Her clear articulation and careful balance brought clarity to the piece’s intricate, metronomic patterns and the mechanical hand crossings that define its character. Overall, Momen’s performance showcased a deep understanding of both historical styles and the expressive possibilities of the piano.