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Influences

Mariam Batsashvili (piano)

Influences
this album is a nice surprise despite its seeming randomness: the immaculate purity of her sound, and the clarity of her interpretations, are wonderfully dependable qualities.

Influences

Mariam Batsashvili (piano)

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This release includes a digital booklet

Stream now Hi-RES 192 kHz, 24 bit
this album is a nice surprise despite its seeming randomness: the immaculate purity of her sound, and the clarity of her interpretations, are wonderfully dependable qualities.

About

Influences features works by Haydn, Mozart, and Beethoven—the three giants of the sonata form.

Mariam has selected her favourite sonatas, as well as Liszt's Fantasia quasi sonata.

The album also includes Liszt’s famous Liebesträume Nos. 1 & 3 and La Campanella, along with other beautiful solo works.

Contents and tracklist

37: I. Allegro con brio
Track length4:38
37: II. Largo e sostenuto
Track length3:38
37: III. Finale. Presto ma non troppo
Track length3:27
I. Allegro
Track length5:39
II. Adagio
Track length4:56
III. Allegretto
Track length4:15
I. Allegro assai
Track length10:10
This track is only available as an album download.
II. Andante con moto
Track length6:50
III. Allegro ma non troppo
Track length7:59
No. 1 in A-Flat Major, Hohe Liebe
Track length6:07
No. 3 in A-Flat Major, Oh Lieb, so lang du lieben kannst
Track length4:32

Spotlight on this release

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  • Mariam Batsashvili on Influences

    21st May 2025by Matthew Ash

    Mariam Batsashvili's new album, Influences, is a chronological journey through sonatas that she holds close, spiritually and musically. Ahead of her BBC Proms appearance, playing Mozart Piano Concerto No. 20 with the BBC Symphony Orchestra on 27th July, she spoke with Matthew Ash about the new album and her connection with the music.

Awards and reviews

August 2025

this album is a nice surprise despite its seeming randomness: the immaculate purity of her sound, and the clarity of her interpretations, are wonderfully dependable qualities.

June 2025

Batsashvili’s sound is always pleasant, her phrasing generally immaculate and her musical values and structural grasp secure. That said, her approach to the two 18th-century sonatas seems oddly dated.
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