Russian-born Katia Skanavi has enough technique to set the final pages of her curtain-raiser (the Op 12 Variations) ablaze and to spin an iridescent, gossamer lightness round the Berceuse. Volatile and individual, she launches the Second Sonata's doppio movimento at a furious pace and even when her high-octane bravura hints at instability (pianissimos that fade into extinction in the Funeral March, rhythmic vagueries and a dynamic scheme more her own than Chopin's), these performances are never less than brilliant and characterful. ProPiano's sound, like others in this fascinating series, is of superb range and clarity.
'