In 1967, the British pianist Gerald Moore retired from a legendary career as what mindful listeners today prefer to call a collaborative keyboardist. That same year, Moore’s junior colleague Roger Vignoles embarked on a career in the same profession. In retrospect, it looks like a passing of the torch. Like Moore before him, Vignoles possesses an encyclopedic knowledge of the song and chamber-music repertoire, phenomenal stylistic range, and virtuosity that may be the greater for never calling attention to itself. In a three-hour masterclass at Wigmore Hall, Vignoles shares the experience of 50 years with a crop of young artists and the interested public. The venue could hardly be more appropriate: Vignoles has played innumerable dates here with a who’s-who of stars whose names sold the tickets as well as with no end of new arrivals to whom his moral and artistic support lent credence. It’s noteworthy that the announcement identifies Vignoles not as a “collaborative keyboardist” but simply as an accompanist. If you don’t think there’s always a whiff of the apologetic about that word, just check out the tongue-in-cheek title of Moore’s superb memoir Am I Too Loud? But Moore knew exactly who he was, glorying as an equal in partnerships with artists of the first rank. The same is true of Vignoles, one of several heirs of Moore’s in England, but likely the most distinguished. —Matthew Gurewitsch