As for the recital's major work, the Schubert B-flat sonata, the pianist makes it sound so simple, so inevitable, yet the layers of insight by means of accentuation, balances between the hands, and harmonic clarification continue to unravel with each rehearing. I'm struck by the sense of proportion governing the long first movement's subtle tempo modifications, the slow movement's yearning cantabiles against a resolutely bedrock accompaniment, the care with which the pianist differentiates the staccatos from the accented forte/subito pianos in the Scherzo, and by the angular, exuberant Finale that has all of Schnabel's drama yet none of his sloppiness (the difficult dotted-rhythm octaves pose no problems here).

You'd probably guess that the pianist in question is about 50, and at the height of his technical and musical powers. If you didn't know that he actually was 75 years old and had only recently regained full use of his right hand after 40 years, you wouldn't believe it for a second. Yet hearing is believing. I'm certain that Leon Fleisher is as proud of this release as the music world is thrilled to have this supreme musician playing two-handed repertoire again.