Beatrice Rana, characterised by Gramophone as a pianist of “fire and poetry, imagination and originality, temperament and charm, all on top of fearless technical address”, brings together two monumental sonatas: Beethoven’s ‘Hammerklavier’, op.106, and Chopin’s ‘Funeral March’, op.35. The Chopin has been in Rana’s recital repertoire for more than a decade, but it was during the confinement of the pandemic that she first undertook intense study of Beethoven.

“I really found a deep connection with this music, especially because of the isolation, being locked away from the rest of the world. Despite the fact that it reflected so much of what was going on at that time, it’s a very positive piece. It really helped me through the pandemic. It is a very human sonata, but the Chopin sonata is human in a very different way. The trio in the middle of the funeral march [the famous third movement] is kind of übermenschlich – how a philosopher might describe surpassing oneself in a transcendental way.”

Rana also believes that both works show their composers in technically adventurous form: “The last movements of the two sonatas are both experiments at the highest level and in completely different ways … In the Beethoven every line is going everywhere … and in the Chopin the two hands are parallel for the entire movement.” She concludes that both works “transcend the human condition in very different ways – but not altogether different … They both have so much to do with the fear of death, with the fear of loneliness. Each finds a solution in different ways.”