Review: Schubert - 4 Hands - Chamayou, Andsnes (2026)

On paper, the collaboration between Bertrand Chamayou and Leif Ove Andsnes looks like an ideal match. Andsnes has previously distinguished himself with authoritative recordings of Schubert’s late piano sonatas and lieder accompaniments, while Chamayou’s solo Schubert outing explored the composer’s more virtuosic side, most notably in the Wanderer Fantasie . This new Erato album brings them together for a program dedicated exclusively to music for piano four hands, composed during Schubert’s final year, 1828 .

Schubert 4 Hands

Amazon

Presto

Apple

In the album’s booklet interview with Gramophone’s James Jolly, both pianists discuss Schubert’s growing fascination with counterpoint near the end of his life. This intellectual curiosity is audible in the performances. Playing four-hands on one piano creates a dense texture where clarity is often the first casualty, yet the duo pays special attention to these contrapuntal lines. The program highlights this with the inclusion of the rarely performed Fugue in E Minor D. 952, a direct fruit of Schubert’s late lessons with Simon Sechter.

The attention to voicing is evident throughout. In the Rondo in A Major D. 951, note the multi-layered voicing from the 5’00” mark onward, or the subtle, well-coordinated rubato and pedal work at 9’15”—a difficult feat when the pedal is controlled by only one partner. Furthermore, the Allegro in A Minor D. 947 (“Lebensstürme”), receives a reading that is more sharply defined than many competing versions. One cannot help but be persuaded by the performance’s inner drive and sustained forward momentum, capturing the “liveliness of the middle voices” Andsnes admires in the piece.

The centerpiece of the album is, naturally, the Fantasia in F Minor D. 940. Chamayou and Andsnes deliver a strong, balanced performance that maintains somewhat “classical” proportions while allowing for the composer’s touching early Romanticism to breathe. It is a far more successful interpretation than the recent rendition by the Pollinis. While Maria João Pires and Ricardo Castro offer a more forward-looking approach, and the reference recordings by Perahia and Lupu or the Gilels’ remain treasurable, this new version demands to be heard for the sheer clarity of its musical argument. Hear, for instance, how the duo articulates the Fantasia’s Allegro vivace Finale with greater precision than Paul Lewis and Steven Osborne, even at a similar tempo (track 4).

If there is a reservation to be made, it concerns the album’s duration. At roughly 49 minutes, the disc feels brief. Given that the program is restricted to works from 1828, it might have been beneficial to include earlier compositions to lengthen the runtime. In this regard, the digital version by Paul Lewis and Steven Osborne on Hyperion remains a strong competitor, offering these works alongside additional repertoire. However, for those seeking a lucid, intimate conversation between two master pianists, this release is highly recommended.