For each recital at Breinton, I prepare a promotional write-up and create a title to publicise it. When I looked at Sofya Gulyak’s chosen programme, I gave her recital the title “Astonishing Pianism”. And that is exactly what we heard last night.

Sofya’s programme, dotted with transcriptions, was full of the explorations of musical expression and imagination that broaden the borders of the pianistic capacity. Bach-Busoni’s Chaconne was a chordal miracle; the sheer variety of her keyboard touches, from that of a heavy stone to wafer-thin feathers, was mesmerizing. An almost impossible number of notes were played but all were clear, with a statement. In Franck’s Prelude, Fugue and Variation and Bach-Busoni’s Chorale Prelude and Toccata e Fugue, we heard countless layers and textures of voices.  She had a special ability to involve the audience to breathe in the music together. Throughout the first half, we enjoyed the huge contrast between the ironclad authority and angelic stillness and calmness.

If the first half was characterized by solemn and majestic beauty, the second half was that of bursting lyrical colours. How joyous Chopin’s Rondo à la Mazur was, full of young freshness and innocence. The playful keyboard touch was a complete shift from the previous pieces. A Polish theme continued into the next two pieces – Meine Freuden and Mädchens Wuncsch – from 6 Polish Songs, transcribed by Liszt, they were lush and captivating. Liszt’s Hungarian Rhapsody was pianistic madness, as was Bach-Busoni’s Toccata e Fugue. How Sofya created the fiery yet lyrical art with the dramatic spontaneity in this monumental piece (and keeping the volume Breinton friendly), not turning it into a circus act, was thoroughly due to her undeniable technical brilliance.

Of course, the audience demanded an encore! She concluded the evening with Liszt Sonetto del Petrarca.