Luiza Borac is an astute pianist and programme-builder, and her latest double album juxtaposes a quietly breathtaking account of the Goldberg Variations with the Goldberg Canons, a clutch of Bach transcriptions and Chick Corea’s Children’s Songs (1971‑83; recorded originally by the composer for piano trio). Corea invited interpreters to ‘play with’ as much as play his splendidly diverse songs. ‘Re‑harmonise, improvise, orchestrate … fool around with them,’ as he did himself! Borac took part in Corea’s Music Academy workshops so her vividly shaded versions are informed by contact with their creator, and individual to her. She relishes the songs’ touchpoints with the Western classical tradition, whether the Bartók of Mikrokosmos (a crucial underlying influence), Joplinesque rag (No 10), Messiaen (No 11) or Bach. Comparisons with piano rivals (Leon Bates on Naxos; Roberto Franca on Leonardo) show Borac joyfully following her own instincts in convincing and superby recorded readings.

Borac’s performance of the Goldbergs is a wonder of contrapuntal clarity, rhythmic acuity and belief. Nothing is overstated, everything perfectly paced, yet it sounds inspirationally improvised, with a wonderful sense of line (as in the Canons). While competitors have their strong points, Borac is recommendable in her own right, though collectors’ interest may rest on the programme as a whole, which is a delight.

 This review originally appeared in the SPRING 2025 issue of International Piano