Grimaud produces a context of almost orchestral depth and spaciousness into which Gabetta projects her eloquently refined lines...Debussy's riveting Sonata benefits from Grimaud's subtle palette of timbres, and the cellist's willingness to let her sound ring free....[for the Shostakovich] Gabetta finds her vicious streak, with thrilling results in the finale.

Gabetta plays the Schumann Drei Fantasiestücke and Brahms Sonata No 1 mellifluously, without revealing much beneath the surface. Grimaud is ever-attentive, but there’s little sense of two personalities striking sparks.

There is a lightness to all the performances that creates an engagingly lyrical sound that is pleasurable to listen to...That this disc falls down a little by way of its great delicacy and slight tentativeness...would not be in any way a criticism to most musical collaborations. That it is to Grimaud and Gabetta is simply testament to their potential as a truly incendiary collaboration.

their quixotic musical personalities do match; there's a lightness of touch and an element of spontaneityin Gabetta's playing that corresponds to the impulsive aspects of Grimaud's pianism...You wouldn't always want Brahms like this, but it's still worthwhile.

the duo's playful work on Schumann's “Drei Fantasiestücke” bears out both Grimaud's assessment and the pair's shared sensibilities. Brahms' Sonata for Piano and Cello No.1 in E minor, though possessed of more gravitas, is more lightly dealt with than I've heard before, while they bring a questing spirit to Debussy's Sonata for Cello and Piano in D minor