"What is it about Mozart?" asked Sviatoslav Richter in 1982. "Is there a pianist alive who really manages to play him well?...Haydn is infinitely less difficult to play (he's almost easy, in fact).

Assuming the world holds together that long, there will be something we can rely on annually all the way to 2041, the 250th anniversary of Mozart's death: among the celebrations each year, a Wigmore Hall concert like this one, placing Amadeus among the other composers of his time, great and small(er).

Benjamin Britten died on 4 December 1976. Last night’s Wigmore Hall concert, on the 43rd anniversary of his passing, proved that his real legacy lies not in inert acts of homage but a living engagement both with his work, and the unruly energies that drove it.

Fine-tuning piano sound to Wigmore acoustics can elude even the greatest. Add a second Steinway and a wide range of percussion instruments, and the risks would seem to be hugely increased. So it was amazing to witness what seemed like sonic perfection throughout yesterday's Radio 3 Lunchtime Concert from the back of the hall.

Mieczysław Weinberg – where to begin? The composer died in obscurity in 1996, but his music has enjoyed a huge surge in popularity over the last ten years, culminating in this year’s global celebrations for the centenary of his birth. His music is lyrical and deeply expressive, but audiences can be forgiven for not knowing quite what to make of him. He was immensely prolific, and his works are diverse, yet a distinctive voice runs throughout them.

This recital finds Angela Hewitt nearing the end of her “Bach Odyssey”, a project to perform all of Bach’s keyboard works, in five cities around the world, between 2016 and 2020. That’s an impressive feat, especially as she performs from memory. Here she presented the English Suites Nos. 4-6, plus an early Sonata, BWV 963.

There are now two septuagenarians playing Schubert at a level no other living pianist can touch.

"Revelatory":  it’s one of those words which is now completely devalued through having been carelessly dropped into a thousand press releases.

Handel’s Brockes-Passion is a curious piece - sacred but not liturgical, and with a strong influence from opera, though it is a concert work. Solo voices predominate, and the singers assembled at Wigmore Hall were mostly fine.

From the epic-lyric heaven storming of Beethoven's last three piano sonatas to the lyric-epic dances on the volcano of Schubert's two late piano trios isn't so big a leap, especially when you have the clairvoyant poise between colossal and intimate of the great Elisabeth Leonskaja.