There are times when, as a reviewer, one has to lay down one’s pen and merely sit back to allow the music to weave its magic; when it seems churlish to nitpick at the details of a performance.

Such was the case here when listening to Schubert’s piano sonata in B flat, the last of the three great sonatas written in the last months of his short life. This is music in which the composer bares his soul but in the most private and unselfconscious of ways.

Few pianists are more qualified to do this music justice than Imogen Cooper. A pupil of Alfred Brendel and having so many of her great mentor’s qualities – cerebral and poetic. This was playing that was assured in every way and in which the performer was totally at one with the composer. Even her unobtrusive, dignified stage persona defined her as a conduit for this profound music. No superstar here. This was nowhere more true than in the first two movements of the sonata. The first with its timeless meandering reminiscent of the song cycle Die Winterreise followed by the tragic slow movement that offers no consolation with its rocking accompaniment and etheriality.

This poetry had already been evidenced in music by Robert Schumann and wife Clara (Wieck). There were ardent Romances written for one another together with his seldom performed Humoresque Op.20 – a substantial piece full of juxtaposing euphoria and depression with periods of reflection that it was difficult not see as indicative of the fluctuating moods typical of Schumann’s life. The concert was completed by Brahms’ Theme and Variations in D minor (from the string sextet) - a gift that he gave to Clara that showed Brahms off as the master of this form.