An evening for those who love in academic music not external brilliance, but tense thought, rare turns, and deep inner movement. At the center of the program are Rachmaninoff and Scriabin: from a large, rarely performed sonata to late, almost hypnotic pages. In this program, two powerful musical worlds converge - Sergei Rachmaninoff and Alexander Scriabin. They are often placed side by side as contemporaries, but within the piano culture, they open up completely different spaces. One gravitates towards breadth of breath, weight of form, and richness of feeling, while the other leads to ultimate refinement, nervous mobility, and almost mystical concentration. It is on this contrast that the special appeal of the evening is built. The first part is focused on Rachmaninoff's music. Here, a miniature, the cycle "Fragments," and Sonata No. 1 come together - a composition that long remained in the shadow of the more famous pages of the composer. Interest in this sonata has noticeably increased, and it is easy to understand why: it has breadth, drama, internal architecture, and that rare feeling when music demands complete intellectual and emotional engagement from the performer. For the listener, it is a meeting with a work of large breath, where the power of expression is combined with subtle psychological nuances. In the second part, attention shifts to late Scriabin. This is music of special density, where the usual logic of development gives way to the flickering of states, tense flashes, and capricious movement of thought. The Eighth and Tenth Sonatas are considered some of the most difficult works in the piano repertoire, and interest in them is always connected not only with technical complexity. They captivate by how they change the very sense of time, forcing one to listen with utmost attention and revealing a world where everything is held together by the subtlest shades. The performer of the program will be Mikhail Lidsky - a pianist valued for his independence of view and ability to work with the deep meaning of the composition. This approach is especially important here, where effect is not d