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Alan Becker
American Record Guide, September 2016

The Beethoven Studies are based on the slow movement of Symphony 7 and probably the best known works here. They are very well played, and the additional studies from the first and second autograph are included. © 2016 American Record Guide Read complete review on American Record Guide



Scott Noriega
Fanfare, September 2016

…for those interested in exploring every corner of Schumann’s oeuvre, this disc is a must. Not only does it give us a window into some otherwise impossible-to-find scores, but does so with real panache: Chauzu throughout proves himself a fine guide, one both technically secure and musically polished. © 2016 Fanfare Read complete review



Jonathan Welsh
MusicWeb International, July 2016

There is nothing wrong with Olivier Chauzu’s playing, which is exemplary. He is certainly able to reflect Schumann’s changing moods throughout… © 2016 MusicWeb International Read complete review




Classical Music, June 2016

…a fascinating collection well played… © 2016 Classical Music




Michel Stockhem
Diapason, May 2016

All in all, one appreciates Olivier Chauzu’s engaged, refined playing, which is without pretention… each of his discs reflects the portrayal of an artist of the highest calibre. © 2016 Diapason



David Denton
David's Review Corner, April 2016

The remnants that remain after the shavings from the master craftsman bench are swept away, make an unusual release of piano music by Robert Schumann. The opening work exists in three versions, the earliest from 1832 being in the shape of eleven studies on a theme from Beethoven’s Seventh Symphony, and after two ‘revisions’ became a theme and seven variations of 1835 that we hear at the beginning of this disc. The two earlier versions can be created by the substitution/addition of the four variations the disc also includes from each of the two earlier versions. His final thoughts were the best. The Ghost Variations were never intended to be published, even by his wife after his death, and you can hear why. Its format of a theme and five variations makes for a sombre score that could well have been the work of any reasonably competent composer of the day. The Variations on a Nocturne of Chopin is introduced by the third of his opus 15 nocturnes, but it remained uncompleted on his death and lasts just a little over four minutes. The Variations on a theme of Schubert comes from the same period as the Beethoven Variations, and uses as its theme one of Schubert’s Waltzes of Longing, its existence coming from a late 20th century reconstruction, though you will recognise the opening as having later formed part of Schumann’s Carnaval. The Third Sonata also went through a transitory period and the three discarded movements are here included, together with an early version of his opus 7 Toccata; a supplement to his Fantasiestucke, and his arrangement of Georg Christoph Grosheim’s Titana Overture. The French-born Olivier Chauzu is one of today’s most sought-after pianists and does all that is possible for the music, his Toccata being especially good. The Paris recording is of modest attainments. © 2016 David’s Review Corner





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