THE music of Shostakovich invokes a strong and complex, physical and emotional response. Hope mingles with despair; the nimble and the sombre dance together. One softly played chord causes a palpable reaction of deep empathy.

“CityNews” arts editor, Helen Musa says: “Shostakovich is a composer who wears his social dislocation on his sleeve.”

Preludes and Fugues Op.87, his most significant piano work, was composed following a fall from grace. He experienced years of ostracism and criticism from the Stalinist regime of his native Russia. If distance gives greater vision then these works can be regarded as insightful gifts from isolation.

Margaret Legge-Wilkinson’s performance was delicate and light, allowing the music to explore the keys of the piano and reveal the tactile nature of the instrument. Her presence was devoid of ego or showmanship. Bitterly up-beat passages evoked a coldly bright, modern world. Discombobulated treble and bass engaged in playful, Slavic conversation. Bold, epic chords stirred simultaneous feelings of anticipation and completion; elation and dread.

Legge-Wilkinson’s restraint in not wearing her performer’s heart on her sleeve allowed for every nuance of Shostakovich’s complex and expressive aural language to be openly received.