Elisabeth Leonskaja – review

Wigmore Hall, LondonWhen 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...

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