18 CON ELEGANZA You play them in their chronological sequence, almost in one single breath... It seems to me that they were born of a single creative impulse, following on from each other closely in their composition. They stand together by the graceful treatment of the contour of their lines, their rhythms and their harmonies. And because they fit together so well, I thought it would be a good idea to offer them the privilege of a major cycle. Completed in 1898, the Piano Sonata No.3 comes after these Impromptus. You open your recital with it. For what reason? The powerful tremor created by the octaves in the low register of the piano is immediately compelling. The beginning of its Drammatico movement leaves us no choice: its opening bars contain a call of irrepressible force that I feel is the expression of existential questioning and profound distress. Having a true addiction to this sonata, opening the recital with it was, for me, a way to make a bold statement from which the rest of the programme would flow. It provides a particular perspective on the Impromptus that follow. After the epic journey of this great work, they no longer appear superficial, cannot be considered merely incidental, and bring a refreshing presence to both heart and mind.
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