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Lynn René Bayley
The Art Music Lounge, April 2016

To say that Weichert has the full measure of Schulhoff’s quirky music would be an understatement. I have the highest respect for Stott, since her performances had almost nothing to be compared to and she gave them her all, but by and large her sense of rhythm was that of ragtime. While it is true that Schulhoff’s music was indeed based on ragtime, and a white, commercial form of early jazz that arose from ragtime, I must say that Weichert gives every piece that Stott herself recorded even more of a jazz swagger. © 2016 The Art Music Lounge | An Online Journal of Jazz and Classical Music Read complete review



Stephen Smoliar
Examiner.com, April 2016

…the jazzy spirit is the prevailing rhetoric throughout…

[Weichert’s] approach to Confrey’s style involves just the right blend of the disciplined treatment of a steady left hand against a syncopated right and the relaxed rhetoric through which those syncopations sound as if they are rolling off of the pianist’s fingers. One can imagine all of those “piano gods” up in heaven looking down approvingly on Weichert and perhaps even persuaded that Schulhoff, indeed, had a thing or two to bring to the jazz party. © 2016 Examiner.com Read complete review



David Denton
David's Review Corner, April 2016

The third disc in the complete piano music of Erwin Schulhoff, the Prague-born composer who perished in 1942 in a Nazi Second World War concentration camp. Born in 1894, most of his mature studies were with Max Reger on the way to a highly successful career as a pianist and composer, his entry into the European music scene coming when it was in turmoil with the birth of the Second Viennese School. He was a complex composer who passed through so many influences, this disc concentrating on the impact that American jazz made to his life. Though thought-through works, they have that feel of being improvisational, or as it became known ‘doodling in a late night jazz club’, the smoochy and cigarette smoke-filled venues pictured in the second of the 5 Etudes. Elsewhere he filled pages with the need for fast and busy fingers, the thematic material tending to be lost in the profusion of notes. Maybe the Suite Dansante from 1931 is more of pleasing and passing interest than of lasting substance, whereas the Etudes are works that you would often want to return to, the influences of Debussy and Ravel ever present. Mixing light music influences with jazz, the 9 Kleine Reigen are of passing pleasure, though the six Ostinato are of less interest. The outstanding German pianist, Caroline Weichert, captures the many moods of jazz to perfection, the clarity of busy hands being exemplary, while the recording quality—as with the earlier discs—is among the most realistic piano sounds you will find on disc. © 2016 David’s Review Corner





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