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"It is remarkable how much and how often composers refer to each other and what connections one can discover as an interpreter between the individual works. In order to take a closer look at these connections, I have focused on two genres in creating the program, namely the etudes and preludes of Frédéric Chopin, Claude Debussy, György Ligeti and Nikolai Kapustin, hence the title “études & préludes”. I highlight various compositional methods and how they have evolved over time. Some of the works played are virtuosic or impressionistic, others poetic or jazzy. All four composers are closely related to each other. The first part of the program consists of twelve selected etudes by Frédéric Chopin, Claude Debussy and György Ligeti. The pieces are arranged by intervals – from a repeated note (Ligeti calls this a “continuum,” whereas I refer to it as a “zero” interval) to a semitone step (“Pour les Degrés chromatiques” by Debussy), on to whole tone step, third, fourth, fifth, sixth, seventh to octave – developing an inner musical tension. At the end, one hears the etude “Pour les accords” by Claude Debussy, in which the chords can be perceived as a combination of intervals. The two arpeggio etudes before it (one by Chopin and one by Debussy) are considered examples of decomposed intervals that form strong harmonic nuances and colors. The second part of the program consists of three composer blocks – 5 preludes by Chopin, 4 preludes by Debussy and 3 preludes by Kapustin. Thus, the listeners will be able to see the clear differences in style even more clearly. These twelve preludes of the second part mirror the first part and bring about a unity of the concert program, which with its 24 individual pieces can be regarded as an individual piano cycle and a separate piece of art." - Dora Deliyska