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An incredible mix of colours and sounds in the Sydney Town Hall.

A colourful, folkloric concert that warmed up the Sydney Town Hall for the SSO's seasons to come.

A night that gained in brilliance, ending on a masterful rendition of Ravel and two stunning encores.

More is more: Kirill Gerstein makes an eloquent case for the supersize.

The Russian-American pianist tells us about recording the Busoni Piano Concerto, Limelight's Recording of the Month in June.

A truly memorable recital in which brilliant technique was used not to blind, but to illuminate.

Stars of its annual concert series, celebrating its 10th year, include pianist Kirill Gerstein, early music pioneer Jordi Savall and soprano Nicole Car.

Protean pianist proves he’s sure got rhythm – and then some.

The Russian-born pianist has attracted attention for his keen musicianship as well as his anti-Brexit, anti-Trump views.

If you’ve worn out your copy of Georges Cziffra playing Liszt’s Transcendental Studies – and why wouldn’t you, because he da man – and are in the market for a newer model, should you direct your hard-earned cash towards Daniil Trifonov on Deutsche Grammophon or Kirill Gerstein on Myrios? Both are newly released and attracting praise like superlatives are about to outlawed by presidential executive order. Like everything Trifonov touches, his Transcendental Studies are proudly personal statements and wilfully so on occasion – witness, for example, the roof-rocking intensity of the fourth study, Mazeppa, where the volatile harmony is allowed to churn up the structure, and the ‘recitativo’ section of the coda plays out as something approaching a mad-scene. Gerstein – who plays the definitive 1852 version of Liszt’s Twelve Etudes – sits more obviously in a tradition that stretches back to Cziffra. Much has been written about how Gerstein’s background in jazz lends his performance an improvisational, power-to-the-moment flow. But despite his studies on the jazz course at Berklee and mentoring by jazz vibraphone guru Gary Burton, I’m not sure I hear it like that. At every turn, Gerstein peels the minutiae’s minutiae out from Liszt’s notation. The spread…

On choosing between classical and jazz, the old and the new, and the challenge of Rach Three.