There are competing recordings of all this material. But Wyss brings a more natural flexibility and a wider range of keyboard colors to the music. Wyss’s lilt in the last of the Late Summer Nights cycle is infectious, and she finds a depth of emotion in the op. 12 Sonata that others don’t quite reach. She achieves this through a very carefully thought out, but natural, sense of dynamic shading. Wyss manages dynamics with great imagination and an ability to find many different variants between piano and forte. She also applies some very subtle rubato in a way that keeps the music alive. Charm is a critical element of this music, and Wyss conveys that winningly.
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