TAMARA STEFANOVICH — Organised Delirium

Organised Delirium is pianist Tamara Stefanovich’ personal exploration of the sonata form, centred around Boulez’ Piano Sonata No.2 which she studied in close collaboration with the composer, reigniting her passion as a performer. Boulez’ Piano Sonata No.2 represents a restructuring of music after its destruction during World War II. Boulez’ iconoclast piece is paired with twentieth century sonatas by Eisler, Bartók and Shostakovich, each questioning the use of the term ​‘sonata’, while the programme closes with a return the sonata’s origins by way of Domenico Scarlatti. Appearing in the context of Boulez’ centenary, this adventurous album reveals a strong kinship to Stefanovich’ PENTATONE debut Influences (2019), and deepens our understanding of the sonata, its history and its many shapes. 

The New York Times lauded Tamara’s recent concert performance of Boulez’ Piano Sonata No.2, stating that ​“Ms. Stefanovich’s performance was staggeringly brilliant”. Praised by The Guardian as ​“fearless, dazzling, exceptional”, Tamara Stefanovich is one of today’s most adventurous and sought-after pianists. After Influences (2019), Visions (2022) and Nicolaou: Etudes & Frames (2023), she now releases her fourth PENTATONE album.

BEATRICE RANA — Bach Keyboard Concertos

Exploring the myriad possibilities of Bach on the piano, Beatrice Rana engages in intimate and illuminating dialogue with the Amsterdam Sinfonietta in four of the composer’s keyboard concertos: BWV 1052 in D minor, BWV 1053 in E major, BWV 1054 in D major, and BWV 1056 in F minor. 

For the New York Times, Rana’s distinction as an interpreter of Bach lies in ​“preternatural sensitivity, sophistication and control, along with a touch of magic.” 

“Made in heaven,” is how Bachtrack described their musical partnership, ​“Soloist and ensemble were playing as one.”
For Beatrice Rana, part of the genius of Bach’s music lies in the way it ​“transcends its era and the musical technologies of its time and still feels modern to listeners today.”