Crisp gestures, total control over phrasing and dynamics sublimely exalted by the rigour of his training: Grigory Sokolov, although a legend for entire generations, is an introverted anti-star, a stripped-down, concentrated musician capable of wielding a whole palette of colours rich in nuance. His gestures, in their unadorned clarity, unravel every architecture of sound, and even the most complex structure is revealed in its constituent elements. His crystalline purity of sound and limpid touch make him a shaper of music, a poet. Under his fingers, ever-fascinating landscapes are sketched, such as Mozart's Sonata K 545, Fantasia K 475, and Sonata K 457. But for a fully rounded perspective, we may also appreciate Sokolov's introspective side in his sublime performance of Beethoven's Sonata no. 27 op. 90, so rich in the cantabile expressiveness that so astounded the composer's contemporaries, and his grand Sonata no. 32 op. 111: the last work in the Beethoven catalogue, dense and majestic, it sums up the composer's formal, timbric, and harmonic quest.