A full Wigmore Hall always feels special. Formerly we saw a board with the words “HOUSE FULL” on it, in large, bright red capital letters at the entrance. If we had tickets back then, we knew how lucky we were. These days, the 552-seater hall gets booked out far more often, as it was last night. The promise of a programme of Schubert (both of the piano trios composed near the end of his all-too brief life) played by performers including András Schiff had filled the hall. 

To master even one of Brahms’s three early sonatas is a colossal task for any pianist. To play them all with towering authority in a single concert takes a phenomenon. Elisabeth Leonskaja seems just that more than ever in her late 70s; not only is there no loss of the epic stops she can pull out in the most tumultuous music, but for all her poise, she’s also still willing to embrace the craziness and iconoclasm of the 20-year-old composer as if the works were written yesterday.

Few pianists manage stylistic perfection in both Mozart and Ligeti, but to Jeremy Denk it seems to come naturally. We should have heard the riveting contrasts in quick first-half succession, but European air traffic control had wasted much of the Danish String Quartet’s day and they hadn't arrived by the start of the concert. So perfect programming went out the window and Ligeti had to stand alone before the interval.

Artist-in-Residence at the Wigmore Hall Hilary Hahn brought her residency to an end with a collaboration with the exciting Kaleidoscope Chamber Collective, a notably youthful and ethnically diverse group, who brought with them a notably more youthful and ethnically diverse crowd than the hall usually entertains.

Rachmaninov had his doubts about his Variations on a Theme of Corelli. He confided to Medtner that when he performed them, “I was guided by the coughing of the audience. Whenever the coughing increased, I would skip the next variation. Whenever there was no coughing, I would play them in proper order.”

Founded two decades ago by Franco Buitoni and his wife Ilaria in league with their good friend Mitsuko Uchida, the Borletti-Buitoni Trust never seems to put a foot wrong in its choices: the present and future are as dazzling as the last 20 years. As well as giving generous long-term support to over 200 artists and groups, BBT commissions new works – more than 50 to date – and has set up a Communities wing "to encourage social cohesion".

Conversation just before this concert started concerned Verdi’s Il trovatore and the truism that it needs “the four greatest voices in the world”. Whether or not the quartets we heard by Mozart, Prokofiev and Brahms demand the same in string terms, they all hit breathtaking levels of humanity, thanks to the singing interaction of the Jerusalems, the peerless chamber music equivalent of the Berlin Philharmonic.

Paul Lewis secured his reputation as a leading advocate of the Viennese Classical repertoire with two releases of late Schubert sonatas on Harmonia Mundi. That was 20 years ago, but he returned to Schubert in 2022, with a release of earlier sonatas, music that requires more interpretive personality, something that Lewis can always provide.

Rigorous, hauntingly original and unlike each other, Britten’s three numbered quartets could share a programme and still stake equal claims on our attention. That might be tough on the players, but the Castalians haven’t been easy on themselves in the three concerts they’ve given to share out the honours between Britten and other composers.

French-Danish soprano Elsa Dreisig’s operatic schedule is so busy and so successful, it is perhaps not surprising that she – and Texas-born pianist Jonathan Ware – treat the song recital platform as a place of freedom, where, rather than delivering the predictable or the comforting, they can test out ideas and set themselves challenges. As she has told one interviewer, it is a place where "I can push my artistic practice to its ultimate limit."