Reprinted form yesterday's late editions

The great thing about Sunday's National Gallery Schubert program was the insider's view it gave the enthusiastic audience into the less formal, less often heard, though highly idiomatic, Schubert.

After two intensely poetic solo performances of Impromptus from D. 899, pianist Martin Berkofsky was joined by David Hagan. Together, they spent the rest of the evening on four-hand music that Schubert helped to make a 19th-century rage.

There was one of his beloved marches, a dazzling rondo, and a stormy sonata movement of such dramatic power that you had to wise it had been followed by companion movements.

In some of these four-hand pages, Schubert takes on an unsophisticated, almost naive quality that is a reminder of how early into the romantic era he was - indeed one of its first giants. As Berkofsky and Hagan played an overture - and even more during the Diversion on Hungarian Themes - this element became prominent, always mixed with superb realization of the possibilities inherent when foud hands play on a single keyboard.

A stunning set of variations on a theme from the forgotten opera, "Marie," by Herold made a strong closing to one of the most interesting Schubert concerts this season.