Though Stephen Hough's recital was clearly designed for the Mozart anniversary, it was the one work in his programme without a Mozartian link that made the biggest impression.

Hough has always been a very fine Schumann pianist, but on the evidence of this performance of the C major Fantasy, he has matured into a great one. This was as fine an account of what is arguably the greatest of all Schumann's solo-piano works as London has heard in a very long time: meticulous in its attention to detail, with so much that is often glossed over carefully delineated, yet boldly architectural in its grasp of the large-scale structure, too.

Hough never overplayed his hand expressively; it is easy to sentimentalise the work's slower themes, but here they were always part of the bigger picture and never allowed to drift into reverie. His technical command hardly faltered; a brief spatter of wrong notes in the coda of the second movement was more than forgivable at a moment in the work when risks have to be taken. Every element was perfectly placed in a model of what Schumann interpretation should be.

If that was piano-playing on the highest level, then the Mozart in the programme was almost as special. The Fantasia in C minor and the B flat Piano Sonata K333 belong to very different worlds expressively, and Hough found exactly the right colour and touch for each - the fantasia dark-hued, wracked and angular, the sonata buoyant, lyrical and bright-toned.

His own Mozart Transformations (After Poulenc) gave a witty, Gallic flavour to three of the great composer's miniatures, as if their classical outlines were viewed through an absinthe-induced haze, before Busoni's arrangement of Liszt's Figaro Fantasia put Non Piu Andrai and Voi Che Sapete through the virtuoso mill. Hough dispatched it joyously.

· To be broadcast on Radio 3 on December 24.