Pinchas Zuckerman, violin; Marc Neikrug, piano; Cultural Centre Concert Hall, April 18 Those expecting ravishing violin playing had to be disappointed. Pinchas Zuckerman is a master of his instrument. He is athletic, confident, has the lean tensile tone other players can only dream about. But so masterly is Zuckerman that he can hold his greatness in reserve. So rare were his grand motions that it made one appreciate the inner moments. Anybody of Zuckerman's stature can take the Brahms Third Sonata and turn it into a dark, vitally intense work. Zuckerman could certainly make the opening dramatic. But his magic was in emphasising the more placid second theme, showing the light between the shadows. Nor did Zuckerman think of highlighting the gorgeous second movement vibrato, which waits to be played. Even in the great finale, one didn't feel so much the virtuosity of the violinist as the direct aggressiveness of line, the glow (rather than the glitter) of the melodies. In the one-movement Brahms Sonatensatz, Zuckerman again kept the emotions in check. It was a hard driving performance, but the grand sweep of the piece was kept until the final eight bars. The Brahms is mentioned first because pianist Marc Neikrug gave it the most satisfying accompaniment. In the first section, there was no way his sometimes plodding piano could maintain a relationship with Zuckerman's violin. That was certainly true in the opening Schumann Fantasiestucke, where Zuckerman was so intimate. Each note was nuanced, theme openings were almost whispered, then taken back again. It was almost a private performance, and more intriguing just for that. But, outside of the most elegant Mozart encore, it was Zuckerman's serenely happy Beethoven Sixth Sonata which was truly heavenly. It was not forward, it was humorous, the dexterity hidden amidst the joy of the conception. This was, in other words, that rarest of violin recitals, reaching for the inner conception rather than the mere outward manifestation.