Tracklist Hide Credits

Super Audio Layer
Piano Sonata No.14 In C-sharp Minor Op.27-2 “Moonlight” Composed By – Ludwig van Beethoven
SACD-1	Adagio Sostenuto	7:50
SACD-2	Allegretto	3:10
SACD-3	Presto Agitato	8:23
Piano Sonata No.26 In E-flat Major Op.81a “Les Adieux” Composed By – Ludwig van Beethoven
SACD-4	Adagio - Allegro	8:25
SACD-5	Andante Espressivo	4:50
SACD-6	Vivacissimamente	6:39
SACD-7	Ballade No.1 In G Minor Op.23 Composed By – Frédéric François Chopin*	12:33
SACD-8	Scherzo No.1 In B Minor Op.20 Composed By – Frédéric François Chopin*	13:59
SACD-9	Scherzo No.2 In B-flat Minor Op.31 Composed By – Frédéric François Chopin*	13:47
SACD-10	Ballade No.1 In G Minor Op.23 (One-Point) Composed By – Frédéric François Chopin*	12:33
SACD-11	Scherzo No.1 In B Minor Op.20 (One-Point) Composed By – Frédéric François Chopin*	13:56
CD Layer
Piano Sonata No.14 In C-sharp Minor Op.27-2 “Moonlight” Composed By – Ludwig van Beethoven
CD-1	Adagio Sostenuto	7:50
CD-2	Allegretto	3:10
CD-3	Presto Agitato	8:23
Piano Sonata No.26 In E-flat Major Op.81a “Les Adieux” Composed By – Ludwig van Beethoven
CD-4	Adagio - Allegro	8:25
CD-5	Andante Espressivo	4:50
CD-6	Vivacissimamente	6:39
CD-7	Ballade No.1 In G Minor Op.23 Composed By – Frédéric François Chopin*	12:33
CD-8	Scherzo No.1 In B Minor Op.20 Composed By – Frédéric François Chopin*	13:59
CD-9	Scherzo No.2 In B-flat Minor Op.31 Composed By – Frédéric François Chopin*	13:47

Companies, etc.

• Mastered At – Exton Studio
• Recorded At – Inagi Municipal I Plaza
• Made By – Octavia Records Inc.

Credits

• Engineer [Assistant] – Masashi Minakawa
• Executive-Producer – Motoaki Ohmachi
• Piano – Evgeny Zarafiants
• Producer, Recorded By – Tomoyoshi Ezaki
• Technician [Piano Tuner] – Osamu Adachi

Notes

Limited to 3000 copies. Stereo-only SACD.

Recorded 24-25 Jan. 2017.

For tracks designated as “multi” (CD 1-9 and SACD 1-9), the microphone was set at the audience's listening position, and hall ambience was recorded with another set of microphones and then mixed in for the final master. For “one point” tracks (SACD 10 and 11 only), the microphone was set at the player’s position without using ambient microphones to capture a more direct sound from the piano.
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