Although stylistically similar to the Preludes, the Ten Dreams Op. 45 are much darker in tone and last half as long (they take 21 minutes to the Preludes' 45). The opening movement of the Chorale, Fugue and Postlude is the work's strongest, where resonating B minor chords with endless fermatas stand as pillars for slow, processional chorale-like phrases that seem to provide their own Russian male choir.

I'm glad that BIS has taken advantage of the composer's keyboard prowess, because Auerbach plays Auerbach marvelously. She commands a huge sonority and wide dynamic range, along with fluid, flexible fingers that can handle anything. In particular, Auerbach is a past master at balancing those closely-voiced chords she loves so that each note stands in clear relation to its neighbor, like jewels in a tiara rather than grains in mush. She may not push the composer/pianist tradition into new terrain, yet there's no doubt that Lera Auerbach has something quite potent to say.

--Jed , ClassicsToday.com