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Huntley Dent
Fanfare, November 2017

Born and trained in Hamburg, Brauss has a string of competition prizes to her credit, and it’s clear from the outset that she is an assured player whose style is emphatic, direct, and unfussy. In all four works, despite the enormous differences among the composers, Brauss favors a warm tone with generous pedaling. Taken altogether, these qualities assure a nice listening experience and a positive impression. © 2017 Fanfare Read complete review

Patrick Rucker
Gramophone, August 2017

This is apparently the debut recording of the remarkable young artist Elisabeth Brauss. Born and trained in Hamburg, Brauss will be 22 this year, yet the maturity and sophistication of her thoughtful interpretations would be the pride of any pianist twice her age.

Perhaps the most impressive aspect of this Beethoven D major Sonata is Brauss’s immense stylistic assurance. …Brauss prepares and builds the movement’s climactic peak with consummate skill, lending the whispered final chords an all but unbearably desolate resignation.

Throughout the bristling rhythmic vitality, tricky voice-leading and constantly shifting harmonic colours of Prokofiev’s Second Sonata, Brauss never loses sight of the composer’s fundamental lyric impulse. She is also fully cognisant of the kinaesthetic sense that enabled Prokofiev to compose so effectively for the dance. When Prokofiev wants to raise a great noise, Brauss happily complies…

It is rare to encounter this degree of instrumental mastery wed to musical depth and sensitivity in one so young. Brauss’s exhilarating Beethoven is so thoroughly integrated that each movement is emotionally and spiritually amplified by what has gone before. Her original and unaffected Chopin-playing is fresh and a joy to listen to. If you find yourself uncertain about the future of the art of piano-playing, listening to Elisabeth Brauss could be the antidote. © 2017 Gramophone Read complete review on Gramophone

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