‘They are the mirrors of his soul,’ said pianist William Murdoch in 1933. His description of these 20 works of 1892-93 still rings bells with many listeners. And many pianists too, who convey a largely similar opinion through varying interpretative lenses. Elisabeth Leonskaja prefers a distinct one of her own.

The Intermezzo, Op 116 No 4, was originally titled ‘Nocturne’, and Murdoch calls it ‘one of the most peaceful creations in the whole literature of the pianoforte’. Julius Katchen agrees but Wilhelm Backhaus (Biddulph – nla) isn’t so sure. Both pianists, however, allow the rhythm to flow evenly. Not so Leonskaja, whose fractionally fractured line dispels any sense of nocturnal ease. She doesn’t disturb continuity but sharpens contrasts to suggest more than a single expression of feeling.

There is a similar heightening in her interpretation of Op 117 No 3, where an ‘interior’ central section is flanked by outer portions that speak of foreboding, while the grim jocularity of Op 119 No 3 leaves little space for a grazioso element. During most of this recital, Leonskaja mirrors another kind of soul that is communicated through her Steinway Model D piano of 1901, whose lean sound may be similar to the Erard instruments that Brahms liked. Richard Specht, who heard him play these pieces said: ‘Each time – and each time in a different way – he made an indelible impression on me.’ Leonskaja’s way makes an impression that could become indelible, too.