…she takes Schubert literally, by the note, motive, sequence. She refines each moment, each development, each transition of a melody to the next. This evolves organically, compelling and yet with high poetic impulse. As an opener: Impromptu Nr.2- closely perceived to Chopin.
Then the 2 great sonatas, first No. 20 in D- Major, after intermission No. 19 in c-minor, two monuments, precious, intellectually, powerfully and boldly interpreted.
With marvelous impressive elegance in touch she feels her way into Schubert’s language- sometimes with dolorous sweetness, sometimes with thunderous rage, then again with a sparkling style, to then go back to a Beethovian energy. There are no fractures, no stutters, no technical hurdles- with this pianist the structures and sounds flow naturally on its own. Here she narrates anecdoticly (menuetto sonata No. 19), and in the rondo (No. 20) she dreams of melodic blessedness. Tremendous.
Equally she interpreted the three encores after enthusiastic applause: once more Schubert, then Chopin and Rachmaninow. An evening to forget the humanly earthly problems at least for a moment.—-Der Westen