When it comes to programme-building, Elisabeth Leonskaja seems to favour exclusivity. Instead of the pick-and-mix approach adopted by so many of her colleagues, she prefers to devote a whole evening to just one composer, notably Beethoven or Schubert. This time it was Schubert; the first of the final trilogy of piano sonatas, the C minor D958, occupied the second half of her Wigmore programme, with two much less familiar early sonatas, in A flat D557 and E minor D566, opening the first.

Every time Leonskaja goes on stage the results are likely to be different. Not for her a set-in-stone interpretation of each piece, a performance replicated on a regular basis; she constantly asks questions of the music, looks for different ways into it. Her answers are always convincing, even in a piece she has played many times before; in some of her recitals, her playing can seem over-emphatic or incoherent, however beautifully it is shaped or coloured phrase by phrase.

Here, though, there were few such worries. The early Schubert was characterised by bright, clean textures and neatly turned phrasing, and the first half ended with the two movements of the C major Sonata D840, the first of them surprisingly understated rhythmically, but providing the neatest of links to the more expansive world of the C minor sonata that followed after the interval. In that, Leonskaja was at her most persuasive, giving the opening theme of the first movement a rugged sense of purpose, yet luminously colouring its second subject. She lit up the gorgeous harmonies in the final movements of the slow movement and purled off the finale so that, as in the first of her encores – Schubert's Impromptu in A flat, D899 No 4 – every rippling phrase seemed freshly spun.

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