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For years, I have thoroughly explored the study of the sonata [and the sonata form] for keyboard, from the works of Scarlatti up to contemporary compositions, passing through those of my mentor Luciano Berio. Among the sonatas that I have analyzed extensively, there are three sonatas by Scarlatti [K18, K141, K525], Beethoven's Opus 111, Liszt's Sonata in B minor, Schubert's Sonata in A major, and, of course, the Sonata by my mentor Luciano Berio. I've also drawn inspiration from several piano études: Chopin's Op. 25 No. 12, Liszt’s Études d'exécution transcendante Nos. 2 and 8, Rachmaninov's Étude-Tableau Op. 39 No. 8, Stockhausen's Klavierstück IX, and Ligeti's eighth étude: Fém. My research has further extended to the analysis of several renowned concertos such as Mozart’s K466, Beethoven’s Concertos Nos. I, III, and V, Schumann’s Concerto, Prokofiev’s Concertos Nos. III and V, Tchaikovsky’s First Concerto, and Rachmaninov’s Second Concerto—but most importantly, Brahms’s Second Piano Concerto [first movement]. I've also found inspiration in piano works such as Stravinsky’s piano four-hands versions of Petrushka and The Rite of Spring. My sonata is filled with explicit references [some macroscopic, others more subtle] that can be discovered and recognized—by those familiar with the works I just cited. Although I waited until after turning 50 to publish this sonata, I actually began writing it in 1996, at the age of 25. The first version, completed between 2000 and 2001, was a complete failure, and I decided to remove it entirely from my repertoire. However, after many years of experimentation and revisions, I no longer hesitate to call this composition a "Sonata". A sonata—to truly qualify as one [for me (though, in reality, a bit for {almost} everyone)]—must include thematic expositions, repetitions, developments, "modulating" bridges, etc. In short: the "sonata form". In this sonata, all thematic elements undergo exposition, development, and recapitulation, etc. In conclusion, this sonata aligns with the aesthetics of consubstantial art by uniting human intelligence—emotional, rational, and irrational. It combines traditional piano techniques with modern twentieth-century approaches, such as prepared piano or playing inside the instrument. All of this is enhanced by algorithmic intelligence, managed in real-time, transforming every gesture of the pianist into an "augmented" experience. ------------------------------- Simon Ghraichy Of Lebanese and Mexican origins, Simon Ghraichy was born in Paris. He studied with Michel Béroff and Daria Hovora before pursuing advanced studies at the Sibelius Academy in Helsinki with Tuija Hakkila. Winner of several international prizes, his virtuosity and his audacious musical choices have quickly led to a brilliant international career. He regularly performs in prestigious venues such as the Théâtre des Champs-Élysées in Paris, Carnegie Hall in New York, the Philharmonie de Paris, the Berlin and Saint Petersburg Philharmonics, the Kennedy Center in Washington D.C., the Opéra Royal of Versailles, the Gran Teatro Nacional in Lima, the Teatro Mayor in Bogotá, the Opera of Istanbul, as well as in various halls in France, Germany, Norway, Belgium, Greece, Russia, Thailand, Indonesia, Finland, Norway, Australia, Mexico, Cuba, Lebanon, Chile, Brazil, and Egypt. By 2019 alone, Simon Ghraichy had performed 70 concerts worldwide, where he moved seamlessly from recital to chamber music and concerts with orchestras. His second classical music album released by Deutsche Grammophon, "33," has already sold thousands of copies. He has participated in unique projects, such as "La Nuit blanche" organized by the Institut de France and an extraordinary evening with the étoile dancer Marie-Agnès Gillot at La Seine Musicale. In 2021, he embarked on a tour with the Orchestre National de Bretagne for the world premiere of the concerto for piano and orchestra by the Cuban composer Gabriela Ortiz, titled "Fractals," composed by the composer herself. In 2016, Simon Ghraichy signed an exclusive contract with Deutsche Grammophon, with whom he has recorded two albums acclaimed by the public and critics: "Héritages" in 2016 and "33" in 2019. Simon Ghraichy's discography includes a world premiere recording of Liszt's Sonata in B minor, Kreisleriana by Schumann, and a first album entirely dedicated to paraphrases and transcriptions of Liszt. His extensive collaboration with the Deutsche Grammophon label has brought about world premiere recordings of works by Villa-Lobos, Debussy, Gottschalk, Schumann, Isaac Albéniz, Manuel de Falla, Enrique Granados, and the Italian-French composer Jacopo Baboni Schilingi. His latest album was born from a close collaboration in 2018 with the creation of two compositions for piano and electronics: HUGE and Wolfy's. Simon Ghraichy is the dedicatee of the Sonata for piano and live computer by Jacopo Baboni Schilingi. Simon Ghraichy is a Steinway Artist.