No.1* – Note the clever decision to accelerate towards the end of the upward RH runs, creating the occasional illusion of only 3 beats in a bar and creating the sense of a single, unbroken, soaring line.

No.3 –Incredibly tender voicing, with a particularly dramatic middle section.

No.4 – Pleasingly clear playing. Often the No.4 is burnt to a messy cinder, but here the playing is transparent and exciting throughout.

No.5 – An atypically full-blooded account, with lovely legato playing, especially at moments like .

No.6 – Nearly no pedal used throughout, to great effect.

No.7 – A notoriously hard etude to interpret effectively, but this version is pretty amazing, with beautiful RH phrasing and perky figuration in the left.

No.8* – A real tour de force. The most light and legato version I’ve ever heard. Note the gorgeous pianissimo playing in the D minor section, and the textural shifts at .

No.9 – Played like a tone poem, with impressionistic freedom.

No.10 – The textural variation between the staccato and legatissimo sections is pulled off perfectly.

No.11 – Voicing!

No.12*– A ferocious, overwhelming account. Note how Fialkowska at moments like accents the E-flat at the peak of the LH run, which both adds drama and creates an aural overhang which prepares the sotto voce RH chords which come immediately after. And there's some very fine detached playing in the LH towards the end too.

No.1– Beautifully muted, with judicious rubato.

No.3* – Taut, punchy, spectacular

No.4 – A very brisk tempo, which Fialkowska exploits fully to let the melodic line sing.

No.5* – Note how even in the first section Fialkowska varies the articulation of the theme hugely, from the detached to the fully held notes of .

No.6 – Yet again an astonishing tempo, but completely in service to the music, allowing Fialkowska to generate a sleek, glittering murmuration in the RH.

No.7 – The climaxes are prepared to perfection, and the voicing is consistently flawless. Some really nice rubato too.

No.11*– One of the very best accounts. LH full of swagger, RH full of nimble ferocity + extremely fine dynamic control.

No.12* – As with the very first etude, the sense is not of notes in succession, but a whole series of gorgeous runs, perfectly unbroken. The melody sings with unusual clarity.

Allegro maestoso

Romance. Larghetto

Rondo. Vivace

Allegro maestoso

Romance. Larghetto

Rondo. Vivace

I. Allegro maestoso

II. Romanze – Larghetto

III. Rondo – Vivace

nr 1 c-moll / No. 1 in C minor

nr 2 h-moll / No. 2 in B minor

nr 3 Des-dur / No. 3 in D flat major

nr 4 cis-moll / No. 4 in C sharp minor

nr 1 C-dur / No. 1 in C major

nr 2 a-moll / No. 2 in A minor

nr 3 G-dur / No. 3 in G major

nr 4 e-moll / No. 4 in E minor

nr 6 h-moll / No. 6 in B minor

nr 7 A-dur / No. 7 in A major

nr 8 fis-moll / No. 8 in F sharp minor

nr 9 E-dur / No. 9 in E major

nr 10 cis-moll / No. 10 in C sharp minor

nr 11 H-dur / No. 11 in B major

nr 12 gis-moll / No. 12 in G sharp minor

nr 13 Fis-dur / No. 13 in F sharp major

nr 15 Des-dur / No. 15 in D flat major

nr 16 b-moll / No. 16 in B flat minor

nr 17 As-dur / No. 17 in A flat major

nr 18 f-moll / No. 18 in F minor

nr 19 Es-dur / No. 19 in E flat major

nr 20 c-moll / No. 20 in C minor

nr 21 B-dur / No. 21 in B flat major

nr 22 g-moll / No. 22 in G minor

nr 24 d-moll / No. 24 in D minor

オープニング

I. アレグロ・マエストーソ

II. ロマンス：ラルゲット

III. ロンド：ヴィヴァーチェ

カーテンコール

ラモー／「新しいクラヴサン曲集」—「めん鳥」

幻想即興曲 - Fantasie Impromptu

英雄ポロネーズ - Polonaise No.6 "Heroique" Op.53

黒鍵のエチュード - Etude No.5 Op10-5

革命のエチュード - Etude No.10 No.12

エチュード10-4 - Etude Op.10 No.4

別れの曲 エチュードOp.10-3 - Etude Op.10 No.3

「雨だれ」28の前奏曲集 第15番 - Prelude Op.28 No.15

ノクターン Op.9-2 - Nocturne Op.9 No.2

子犬のワルツ - Minute Waltz Op.64 No.1

華麗なる大円舞曲 - Grande Valse brillante Op.18

ピアノ・ソナタ第3番第4楽章 - Piano Sonata No.3 h-moll Op.58-4 Finale

バラード第1番 ト短調 作品23 - Ballade No.1 in G minor Op.23

スケルツォ第2番 Op.31 - Scherzo No.2 Op.31

Allegro maestoso

Romance. Larghetto

Rondo. Vivace

1st movement (Bunin enters at )

2nd movement

3rd movement