Pianist Tamara Stefanovich takes the term 'organised delirium' — coined by Antonin Artaud and adopted by Pierre Boulez — as the guiding idea for a programme that traces the piano sonata's turbulent reinvention across the twentieth century. At its centre sits Boulez's Second Piano Sonata, a work Stefanovich studied directly with the composer, who used it to demolish and rebuild the old sonata form in the chaotic aftermath of the Second World War. Around it she places Hanns Eisler's assured Op. 1 Sonata, written under Schoenberg's guidance; Béla Bartók's percussive, folk-charged Sonata, BB 88; and Dmitri Shostakovich's radical, dissonant Piano Sonata No. 1 — each composer wrestling with, subverting, or quietly honouring the same historic form. Domenico Scarlatti's Sonata in B minor, K. 87, closes the album as a bygone-era epilogue, framing the whole programme as a journey through the sonata's fights with — and re-shapings of — its own tradition.