- Mélodie (Dance of the Blessed Spirits, from Gluck's Orphee ed Euridice)
- Waltz for piano in A flat major, Op. 39/15
- Suite from the Violin Partita in E major: Prelude, Gavotte & Gigue, transcription for piano after J. S. Bach, TN iii/1: Prelude in E major
- La cathédrale engloutie, prelude for piano, L. 117/10
- Piano Sonata No. 17 in D minor ("Tempest"), Op. 31/2: 3. Allegretto
This double-disc survey of Hélène Grimaud's recordings on Deutsche Grammophon presents high points of her career from 2004 to 2016 and samples a large repertoire that runs from Bach to Bartók. Grimaud's performance style, or the general perception of it, has been characterized by fluid tempos and lots of rubato, free use of dynamics, and passionate expressions, which give the impression of an excessively romantic personality. Yet Grimaud is more complex in her interpretations, and this collection covers aspects of her playing that are perhaps at odds with the received wisdom. In sampling the opening tracks, listeners may find that Grimaud's Bach is surprisingly wiry and resilient, her Beethoven is full-blooded, and her Bartók is whimsical and playful. Continuing through the track list, one encounters more surprises, such as her crisp Mozart, her internalized Chopin, her richly shaded Brahms, and so on, all running counter to the notion that Grimaud is one kind of pianist. The album's title, Perspectives, suggests that Grimaud has considered her subjects from many angles, and that her personality is subsumed by the music, in the moment, not arbitrarily forced through a single point of view. Grimaud has been at the top of her profession long enough to deserve this carefully considered retrospective, and it demonstrates aspects of her art that a less varied or narrower selection would conceal.