When Rachmaninoff was both a deft transcriber, and incorporated Bach-like polyphony into his own works, it’s no wonder he produced such a lovingly radiant, multi-coloured piano transcription of Bach’s Solo Violin Partita No. 3. Beethoven’s Sonata No. 14 was groundbreaking for opening not with a fast movement but a brooding Adagio, whose hypnotic broken chords are so pictorially evocative that the sonata was dubbed the ‘Moonlight’. After an Allegretto provides brief sunny respite, a stormy Presto with percussive offbeats concludes. Even more rhythmically striking is the second and final movement of Op. 111, his last sonata. A theme and variations, its 9/16 beat gets sub-divided as it progresses, producing a jazzy swing. Rachmaninoff’s rhythmically complex and technically demanding ‘Study Pictures’ did genuinely have extra-musical inspiration, so when Respighi transcribed a few for orchestra, Rachmaninoff provided programmatic descriptions.