To finish a Beethoven recital with a Schubert encore might seem perverse.
But Andres Schiff's choice of Schubert's Hungarian Melody D.817, related by key and character to the finale of Beethoven's "Pastoral" sonata, typified the care and imagination with which he had shaped the whole evening.
This fourth instalment of Schiff's Beethoven cycle had found him on familiar territory - the Op.26 Funeral March and Op.28 Pastoral sonatas framing the celebrated Op.27 pair.
But with Schiff there is never any question of a simple romp through even the most crowd-pleasing of masterpieces, and the opening variations of Op.26 made it clear that a much larger vision was in play. Beethoven subtitled the Op.27 sonatas quasi una fantasia. Schiff treated the entire programme as an exploration of that idea.
And moments of fantasy abounded - the ringing, orchestral colouring in the central outbursts of Op.26's Andante, the sudden, flamboyantly virtuosic flight that concluded Op.27 No.1, and the tiny accelerandi that made the tops of phrases dance in the finale of the "Pastoral".
Schiff emphasised his fantasia approach to Opp.26 and 28 by leaving minimal pauses between movements. Yet what impressed above all was his control. The intelligence behind these performances created a sense of profound calm and strength.
Which made for a very different interpretation of the "Moonlight". Schiff's purposeful approach to the first movement meant that the central Allegretto became a significant point of arrival rather than the usual underwhelming interlude. And the tight focus he brought to the torrential finale made it feel surprisingly inconclusive.
A pianist who can make Beethoven's most famous sonata sound as questioning as this has earned the right to play whatever encore he pleases.