All just my personal opinion
World première of the Piano Sonata No.1, “The Queen”, presented by its author, the Swiss composer and pianist Julian Layn, along with highlights from his compositorial oeuvre: excerpts from piano concerto No.1, “Heavy Clouds Over Vast Wide Open”, from piano concerto No.2, “The Ecocalypse”, the piano piece “If You Believe”, and the Impromptu “The French Course”.
Review of concert by Christoph Croisé (Cello) & Oxana Shevchenko (piano) in the Lukaskirche in Lucerne, on 2005-08-27 (in the framework of the Lucerne Festival), featuring compositions by Prokofiev (Cello Sonata in C, op.119), Shchedrin (Quadrille), Debussy (Cello Sonata in D), Chopin (Introduction et Polonaise brillante, op.3), Tsintsadze (Sachidao), and Paganini (Variations on a theme by Rossini)
Beethoven: Piano Sonata No.26 in E♭ major, op.81a, “Les Adieux” — comparing recordings with the following artists: Wilhelm Backhaus (1961), Paul Badura-Skoda (1969), Daniel Barenboim (1984), Ronald Brautigam (2007), Emil Gilels (1984), Friedrich Gulda (1967), Arthur Rubinstein (1940 and 1962), Artur Schnabel (1935)
Comparing recordings with the following artists: Wilhelm Backhaus (1966), Paul Badura-Skoda (1969), Daniel Barenboim (1984), Ronald Brautigam (2008), Emil Gilels (1985), Friedrich Gulda (1967), Igor Levit (2013), Maurizio Pollini (1976), Svjatoslav Richter (1965), Artur Schnabel (1935)
… while for the past two decades the artist is mostly pictured with an earnest, maybe “Beehovenian” / titanic, somewhat closed facial expression, in the concert (which he presented with a mostly relaxed, yet controlled body language) his face hinted at a wealth of emotions — and his playing struck me as a prime example of the “big Russian Piano School” …
Claire Huangci played the Scarlatti sonatas without interruption, and without repeats — this way, she formed a single piece where it was hard for the listener to recognize transitions from one sonata to the next. It’s an interesting idea…