Emmanuelle Bertrand

Their performance manages to fashion a perfectly lucid path through the musical thickets of the sonata’s first movement, which can sometimes seem too overloaded with invention. If the other three movements are more straightforward, the two players never forget that this is a work for musical equals, and the give and take between them is exemplary [...] The rest of the disc is devoted to solo piano pieces, and in the most part Amoyel’s playing of those is equally perceptive.[…] especially the otherworldly magic of the two nocturnes Op 62, with their effortlessly sustained melodies and unexpected harmonic side-slips. It’s a lovely anthology, beautifully thought out and always executed with perceptive care.