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Beatrice Rana is clearly a pianist whose attentions are directed towards the lyric. Hence the Op 28 Preludes here eschew excitement in favour of reflection. Rana’s technique is steady (listen to the articulation of the left hand semiquavers in the tricky G major Prelude) and completely subservient to her wish to underline Chopin’s aching melancholy, which is here pretty much omnipresent. There is a crescendo of unrest towards the end, culminating in the great, ominous tolling bass notes of the close. Rana includes not only the dark, flowing famous C sharp minor Prelude, Op posth, but also the brief A flat Prelude, Op posth. In Scriabin’s Second Sonata, she plays up the Lisztian elements of the first movement; unfortunately, she misses the diablerie of the finale, leaving the listener unsatisfied.

COLIN CLARKE Read the full review on Agora Classica

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