In his 9 Piano Sonatas one can follow the composer’s complete stylistic development: from the youthful Opus 1 in romantic barnstorming style, through neoclassical influenced language, to the percussionist, angular outpourings of the War Sonatas, finally arriving in mellow retrospective mood of the last Sonata. The Sonatas form a landmark of 20th century pianism, presenting new techniques and sonorities, while pushing the technical challenges to the limit.

· Dinara Klinton: “Prokofiev’s music is extremely visual. It’s physically communicative. Sometimes, playing it, I feel like a ballet dancer sensing the music through motion and vibration. His distinctively ‘orchestrated” writing for the instrument creates a particular challenge for a performer, different weightings, voicings and colours demanding different soundscapes.”

· After sharing the top prize at the 2006 Busoni Piano Competition age 18, Dinara Klinton took up a busy international concert schedule, appearing at many festivals including the “Progetto Martha Argerich” in Lugano, the Cheltenham Music Festival, the Aldeburgh Proms and “La Roque d’Antheron”. Her recording of the Liszt Transcendental Studies was met with wide critical acclaim, receiving 5-star reviews and a BBC Music Magazine Choice Of The Month: “An astonishing achievement”.

Like many precocious composers, Prokofiev recycled themes and ideas throughout his career: the earliest example being the first of his numbered piano sonatas, which the xx-year-old composer reworked from a sonata originally composed when he was only sixteen. Stylistically, the Second Sonata of 1912 is much more like the mature Prokofiev in its structure, sonority and harmonic language, with the contrast of the romantic, the sardonic, and the motoric. Nos 3 and 4 again reuse old material – the Fourth (1917) is subtitled ‘From Old Notebooks’ which somewhat understates its dark and even jazz-influenced moods. The Fifth (1923) presents another striking contrast with its recourse to the world of Mozart in a sublime and distanced form of neoclassicism.

In 1939, Prokofiev began work on his ‘War Sonatas’, which contain all the elements of his mature style, with the side-slipping harmonies, the romantic but never saccharine emotion of the Sixth, the violence and exhilaration of the Seventh Sonata and the more enigmatic moods of the Eighth. This work prefigures the calm, often serene character of the Ninth, from 1947: its dedicatee Sviatoslav Richter originally confessed to disappointment over its relative lack of virtuosity, but he came to appreciate its simplicity which is so characteristic of Prokofiev’s late style.

Dinara Klinton’s recording of Liszt’s Etudes d’execution transcendante won high praise from BBC Music Magazine (5 stars and Monthly Choice), Gramophone, Pianist and many other critics. She now makes her debut on Piano Classics with another monument of the virtuoso piano literature,

Born in Ukraine, Dinara Klinton became the first recipient of the prestigious Benjamin Britten Fellowship. Her music education began at the age of five in her native Kharkiv, and she graduated with highest honours from Moscow Central Music School, where she studied with Valery Piassetsky. She then attended the Tchaikovsky Moscow State Conservatoire, studying under Elisso Virsaladze, and earned her Master’s degree and Artist Diploma under the tuition of Dina Parakhina at the Royal College of Music, where she is presently Assistant Professor of Piano.