Wigmore Hall, London
In her recital programme of Beethoven, Schoenberg, Chopin, Webern and Schubert, the Austrian pianist brought new insights and expressive playing

Eighty-year-old piano legend Elisabeth Leonskaja throws herself on to the piano stool and into the two tumultuous descending chromatic scales that open Beethoven’s Op 77 Fantasia in G minor in a single gesture. We have a long way to go in a recital programme that reads like an Mittel-European lucky dip – Beethoven, Schoenberg, Chopin, Webern, Schubert – and Leonskaja isn’t messing around.

Of course, there was nothing chance about the programming. The Austrian pianist’s expressive, emotional playing may grab the headlines, but it’s the unerring sense of underlying architecture that’s the thread through her long career. We heard that here, not just within each of the works, but in the shared foundations, and sometimes secret connecting passages, she revealed between them.

Wigmore Hall, London
In her recital programme of Beethoven, Schoenberg, Chopin, Webern and Schubert, the Austrian pianist brought new insights and expressive playing

Eighty-year-old piano legend Elisabeth Leonskaja throws herself on to the piano stool and into the two tumultuous descending chromatic scales that open Beethoven’s Op 77 Fantasia in G minor in a single gesture. We have a long way to go in a recital programme that reads like an Mittel-European lucky dip – Beethoven, Schoenberg, Chopin, Webern, Schubert – and Leonskaja isn’t messing around.

Of course, there was nothing chance about the programming. The Austrian pianist’s expressive, emotional playing may grab the headlines, but it’s the unerring sense of underlying architecture that’s the thread through her long career. We heard that here, not just within each of the works, but in the shared foundations, and sometimes secret connecting passages, she revealed between them.

Wigmore Hall, London
In her recital programme of Beethoven, Schoenberg, Chopin, Webern and Schubert, the Austrian pianist brought new insights and expressive playing

Eighty-year-old piano legend Elisabeth Leonskaja throws herself on to the piano stool and into the two tumultuous descending chromatic scales that open Beethoven’s Op 77 Fantasia in G minor in a single gesture. We have a long way to go in a recital programme that reads like an Mittel-European lucky dip – Beethoven, Schoenberg, Chopin, Webern, Schubert – and Leonskaja isn’t messing around.

Of course, there was nothing chance about the programming. The Austrian pianist’s expressive, emotional playing may grab the headlines, but it’s the unerring sense of underlying architecture that’s the thread through her long career. We heard that here, not just within each of the works, but in the shared foundations, and sometimes secret connecting passages, she revealed between them.