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Warmly and sympathetically 
                recorded this all-Schumann recital is 
                one of lyric generosity. Zimmermann 
                proves yet again that she is a violist 
                of the highest gifts and Höll demonstrates, 
                as if we didn’t already know, that he 
                is not simply a "singer’s accompanist" 
                (a distinction Albert Sammons once made 
                between Gerald Moore and Ernest Lush) 
                but an all-round musician of judgement 
                and finesse. Together they reveal the 
                glints and shadows of this music, most 
                of it viola-arranged (only Märchenbilder 
                was originally written for the instrument) 
                that flourishes on taut melodic direction. 
                The Fantasiestücke Op.73 were written 
                for clarinet, the Adagio and Allegro 
                for horn, the Romanzen Op.94 for oboe 
                and the Sonata Op 105 for violin. 
              
 
              
We can hear the level 
                of communicative expression this duo 
                can generate in the Adagio and Allegro. 
                In the latter the viola is very occasionally 
                covered by the piano but whilst the 
                balance may be slightly misjudged (the 
                recording set up may have something 
                to do with it) the rapport is strong. 
                When it comes to the Fantasiestücke 
                the third is particularly graceful and 
                full of affectionate lift. It’s this 
                characteristic that strikes me about 
                their partnership; take the Allegretto 
                of the Sonata where their sense of lightness 
                and elfin charm is pronounced. The vibrato 
                is fined down and the music is drawn 
                not so fleetly that there isn’t time 
                to phrase naturally. And in the Märchenbilder 
                we can appreciate the dynamic gradients 
                and sense of subtle tension imparted 
                to the second (Lebhaft) and the "balance" 
                between themes that these two musicians 
                take such care to judge. Passagework 
                is clear in the third (Rasch) and the 
                last is a particularly interior affair 
                with very dampened dynamics from Höll 
                and a sense of prescient introspection. 
              
 
              
This is an accomplished 
                recital – poetic and reflective, lissom 
                and alert. Maybe the acoustic smudges 
                things here and there, as I’ve suggested 
                earlier, but nothing really damaging 
                occurs. Certainly nothing to distract 
                pleasure from these assured and splendid 
                performances. 
              
 
              
Jonathan Woolf