"Zudem hat Sandrin keine Angst, sich gehen zu lassen, vielleicht nicht jede Kleinigkeit bis zur letzten Perfektion auszuarbeiten, dafür aber den dramatischen Bogen zu spannen, der notwendig ist, um die zum Teil in diesen Sonaten so wechselhaften musikalischen Aussagen geschlossen zu präsentieren."

"The performers pay just as much attention to these lyrical aspects as they do to the virtuoso elements. They thus succeed in presenting this musically beautiful piece in a lively interpretation. The violinist Joshua Brown knows how to draw the moods and lines with great dedication. [...] The pianist Paolo Giacometti appears as an accompanist to various musicians. He is rarely in the foreground himself. But his frequent use with others shows that he is a sought-after partner. And when you listen to his playing, you understand why. Always confident, reliable and attentive, his part is also a successful support here."

"Mr Sandrin offers, to these ears, an even more interesting performance—indeed, his performance ranks among the greatest; for a pianist his age, this is a miraculous accomplishment. He does this through subtle rubato, very convincing phrasing, and greater tonal variety (this last through judicious and nuanced use of the pedal). Sonata 30 begins at almost Andante, rather than the marked Vivace, ma non troppo. This is correct; otherwise the Adagio espressivo is not correctly integrated in the sonata form. There is plenty of time later for the rapid (but not too much more!) playing in the development. The final variations movement offers a reading that I’ve not heard before—the outlines are per usual, but the details are richly satisfying. For instance, lis- ten to the interesting execution of the ornaments in Variation 1 and the exquisite han- dling of inner voices in Variation 2. I also love the way he doesn’t do too much to emphasize the bass doubling in the theme’s reprise: sometimes less really is more."