As pianist Andrei Hoteev puts it, Sofronitsky's interpretations included an "improvisatory style", which corresponds with what musicologist Sigfried Schibli has noted as a characteristic of Scriabin's playing, going on to say Scriabin "developed his own style of playing the piano" with "alertly varied rhythms and dynamics ... combined with a delicate touch and spontaneous agogics".

Indeed, Sofronitsky's Scriabin performances have often been praised for their idiomatic rubato - "poetic" rubato together with a flair for musical architecture and rhythmic precision. In his desire for fidelity to the original, Sofronitsky's highly sensitive use of the pedal reflects his striving to abide by the composer's expressive markings as closely as possible. His affinity with Scriabin's oeuvre may derive from the fact that both the composer and the pianist himself were influenced by the music of Frederic Chopin.

Having spent his childhood in Warsaw, where his family had settled when he was two years old, Sofronitsky came to be regarded as setting new standards for Chopin interpretation - an artistic focus that goes back to his first piano tuition in the Polish capital. In 1949, the centenary of Chopin's death, Sofronitsky performed all his piano works on five successive days at the great hall of the Tchaikovsky Conservatory in Moscow.

Contents:

CDs 1-2
Etudes

CD 3
Mazurkas

CD 4
Poems

CD 5
Impromptus, Polonaise, Fantasie, Valse, Nocturne

CDs 6-8
Sonatas

CDs 9-11
Preludes

CD 12