These are world premiere recordings of two sadly neglected works (I am inclined to say masterpieces, even on a first hearing), superbly performed and recorded. Those who only know Scharwenka from his piano concertos and the odd solo piece will be astonished and deeply gratified, for even when the shadows of both Mendelssohn and Brahms flit across the surface, Scharwenka's music is full of surprises and often real breadth and vibrancy. The Quartet's Adagio is notably rich, and who can resist the Trio's second movement, its solace shadowed by a near-Franckian chromaticism and malaise? The final pages, too, have a beguiling intimacy, particularly when spun off by all three players with such enviable ease and tonal radiance. Then there is the Molto allegro, as lightly tripping (a memory of Mendelssohn's fairy world?) as the work's very opening is questioning and rhythmically ambiguous.
Seta Tanyel is beautifully balanced with her colleagues and, as always, she makes light of every difficulty, bringing all of her tonal translucency and charm to even the most awkward and strenuous moments. I have seldom heard a pianist on such good terms with her instrument. So let's hope that her invaluable Scharwenka cycle does not suffer the same fate as her Chopin (discontinued after a mere two records). I cannot praise this disc too highly and all lovers of worthwhile byways of music of both depth and novelty, will surely snap this up.'