I just finished listening to Twenty-four Preludes for Piano, Op. 41 (1998) by Russian-American composer Lera Lvovna Auerbach (b. 1973). I have not heard of this talented composer whose works, it turns out, are quite widely performed and acclaimed. Over 50 works ranging from the piano miniature (the instrument she tours on) to the orchestral. Recently she's been occupied with an opera based on the life of Gogol, due to premier in November 2011.
As a performance, these pieces were marvelously executed and full of emotion. I had the score with me (through the university's interlibrary loan system!) and her playing is extremely accurate without losing the human quality or waning in interest. A few things are apparent to me through this initial listening experience.
While all of these pieces were amazing in their own way, I most enjoyed Prelude 16 in b-flat for its tragic power. Prelude 18 in f also gets a mention for the expansion of Debussy's Pas sur la niege into a fierce ostinato. Last one: Prelude 19 in E-flat is gorgeous and dramatic with fist clusters and a Scriabin inspired quintuplet.