Wolpe’s cool unfolding of Berg’s dauntingly concentrated Piano Sonata has its merits, though her playing is not notable for finesse or tonal variety, and, as recorded here, her Steinway tends to sound shallow and tinny. In the Beethoven she seems out of her depth – the opening movement too often rhythmically precarious, the variations effortful and earthbound. And the Schubert Klavierstucke, played on a lumpy-sounding restored fortepiano, are quite unmagical, with aggressive attack, jerky rubato and indiscriminate use of the sustaining pedal.'