Giorgio Koukl’s survey of Tcherepnin’s inventive piano music continues with two 1950s collections that reflect a synthesis of his earlier technical and expressive innovations—the virtuosic Eight Pieces and the beguiling Expressions. These two cycles bracket a varied group of scores, from the youthful Feuilles libres through the restrained lyricism of the Préludes, and the quirky modernism of the Intermezzo and Tanz, to the relaxed songfulness of the Etudes, written following a concert tour of the Far East.