Schumann: Études symphoniques, Op. 13 (Symphonic Studies / Symphonische Etüden)

“In the Études and the Fantasiestücke his playing veers between ravishing, delicately coloured poetry and an almost dismissive fierceness, so that the promise of what could be a very fine Schumann set is repeatedly snatched away. It's an exasperating, rather perplexing disc.” The Guardian, 23rd May 2013 ***

“There's a wonderful generosity of spirit about the way in which he approaches each of them...He presents the Beethoven as public statement, but Ax is equally capable of judging the perfect, intimate scale for Haydn's F minor Variations...It's such a warm-hearted performance that you hardly notice the keenly analytical musical mind that's directing it so unswervingly.” The Guardian, 4th April 2013 ****

“Like a good few pianists, Emanuel Ax cannot resist delving into this discarded treasure-trove, and he scatters three of the [usually omitted] variations among his performance of the 'official' series. His playing throughout is as unfailingly musical as we have come to expect from him.” BBC Music Magazine, May 2013 ****

“Ax performs superlatively here in a way that ignites the virtuosity that Haydn, Beethoven and Schumann all call into play but with a command of colour, variety of touch and strength of interpretative ideas that are allied to his infallible sense of how the music breathes...performances that combine power and playfulness, clarity, cohesion and character of a consistently compelling order. This is playing by a true master of his art.” The Telegraph, 12th April 2013 *****

“Helmchen's programme explores the extremes of Schumann as a piano composer, at both his most inward and his most virtuoso. I have a suspicion that he's more at ease in the former. The most successful readings of the Études symphoniques combine a delight in the physical with a mercurial charm.” Gramophone Magazine, June 2013

“At every stage, Helmchen takes full expressive advantage of Schumann’s lyrical moments, but here again he doesn’t exaggerate them – clearly he is a musician who believes that implied expression is just as important as explicit statement.” International Record Review

“…Kauten leaves you in no doubt of her commitment and intensity. Kauten completes her recital with the first two of the Novelletten, finding all of the troubled ecstasy at the heart of the No 2 and playing with an emotionalism very much her own.” Gramophone Magazine, September 2009

“Rich-toned and generous with rubato, hers is almost an old-fashioned approach, but the finesse with which she meets all the technical and music challenges in the sometimes awkward F minor Sonata suggests a keenly incisive mind behind it.” The Guardian, 25th September 2009 ****

“Throughout this recital Le Sage is especially good at conveying the music's impulsiveness, but he also responds well to the more poetic side of Schumann. These are altogether exceptionally sympathetic and rewarding performances.” BBC Music Magazine, July 2008 ****

“a really striking player…very musicianly in Schumann” CD Review

“ While in [Le Sage's] previous collection of Schumann's chamber music with piano he showed himself to be an attentive collaborator, his solo piano playing never really suggests that he has strong enough views on Schumann to justify a whole series of discs. In the Humoresque, the F sharp minor Sonata and the Etudes Symphoniques, his playing is perfectly correct and musical, but ultimately just tepid; if the Bunte Blätter Op 99 fares better, it's because the 14 pieces are less memorable musically and expressively far less ambitious.” The Guardian, 6th July 2008 **