The second of our three programs on “late style” focuses on the theme of waywardness. The Schumann—the last piece he wrote before his suicide attempt and institutionalization—contains stunningly oblique music that is daringly static yet deeply moving. The Madrigals of Gesualdo, from the 1500s, offer harmonic schemes as unhinged as Gesualdo was himself when he wrote them. These timelessly unconventional pieces sound like they might have been written yesterday. Brahms wrote his Op. 118 piano pieces years after he had resolved to give up composing. They have a remarkable emotional and structural concentration and have had a profound influence on most “modern” composers. And the Mozart offers a stunning contrast. His final chamber piece enriches the question of late style through all it is not: monumental, morose, valedictory. Instead, it is festive, virtuosic and life-affirming.