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Rob Cowan
Gramophone, July 2019

Clara Haskil’s Beethoven is in a different league again – less interventionist than Pueyo’s, less gruff than Backhaus’s – though another Ludwigsburg concert from 1953 finds her fluffing the second of the three opening gestures that serve as a dramatic call to arms at the start of the last sonata of all, Op 111. Still, once she’s into her stride the imperfections are minor, the manner of projection masterly, with telling Luftpausen (in the elegantly tripping transition to the development section) and thoughtful pacing as the movement steps down to its quiet coda. Some of the second movement is fairly swift, flowing too, with snow-like filigree that’s captivating. The rest of the programme subscribes to the familiar Haskil template of pianistic sculpture, poised and paced to perfection. © 2019 Gramophone Read complete review on Gramophone



Brian Wigman
Classical Net, December 2018

Clara Haskil’s Scarlatti is perhaps the loveliest on disc. The thirteen minutes of joy and impeccable taste might just be worth the price of the disc. But there’s a great deal more. Her Beethoven may not be the stormiest or strongest (and as here, it’s not free of technical blemishes) but it has a rock-solid integrity and musical intelligence. Her Debussy is gorgeously spun, and her Ravel is a worthy close to the program. This is a delightful program. © 2018 Classical Net Read complete review



Jonathan Woolf
MusicWeb International, July 2018

The Schumann brace is decidedly attractive. There’s a confident handling of the Bunte Blätter, not least the probing expressive opening panel of the last of the three and the brimming technical flourishes of its more virtuosic second part. The Abegg Variations was something of a Haskil favourite and is played with strong idiomatic sympathy—and briskly too. © 2018 MusicWeb International Read complete review





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