Just as Brandauer succeeds in imagining the magical happenings in the Athenian forest only through language and a little play, so the two pianists are able to visualize the magic of Mendelssohn's music with four hands without any other instruments on the piano.
Pforzheimer Zeitung, Wolfram Frey, 23/07/2018
Three German premieres by Shostakovich [Arthur Honegger's third symphony, Igor Stravinsky's Psalmensymphonie and Mahler's Tenth Symphony in the version for two pianos]: A fantastic opportunity for the piano duo GrauSchumacher to present their artistic freedom with all due restraint.
FAZ, Michael Ernst, 28/6/2018
Later that evening in the Rokokotheater, the piano duo Grau / Schumacher played mainly Debussy, but also Zimmermann's "monologues" for two pianos. The precision of these two musicians is phenomenal, their interaction almost magical.
Rhein-Neckar-Zeitung, Matthias Roth, 12/05/2018
[They] are ideal performers, who finish each other’s sentences, but also ingeniously anticipate and thus bring the two pianos to downright sing.
Stuttgarter Nachrichten, Markus Dippold, 26/02/2018
GrauSchumacher’s Schubert and Rachmaninov contain several amazing moments. Instead of grand gestures, the expressive details are brought to the fore. (…) Those who know Rachmaninov’s piano music will be aware that he managed to realise his ideal sound world in these works. A reference recording!
Fono Forum, Matthias Kornemann, September 2017 – Recommendation of the month
This symphonic tone panting for two pianos (Rachmaninov’s Fantasia Op. 5, Suite No. 1) is a rewarding piece for the duo, who can shine with technique, show a thousand and one nuances of tone, and together create an extreme harmonic force. These Fantasies are fantastic.
rbb kulturradio, Cornelia de Reese, 22/05/2017 (Fantasias)
The GrauSchumacher Piano Duo are always accurate and well balanced, with some great feats of coordination.
The Observer, Nicholas Kenyon, 14/5/2017 (Fantasias)
There are hardly any recordings in which the first two chords capture the imagination, as this one does. (…) This is an inspiring programme, brilliantly played, with a real element of fun – what more can one ask for!
BR-Klassik CD-Tipp, Thorsten Preuß, 14/3/2017 (Concerti III)
Conductor Sylvain Cambreling – together with the terrifically luminous players of the Staatsorchester Stuttgart and the GrauSchumacher piano duo – accentuated the flow of the music with meticulous brilliance.
Der Neue Merker, Alexander Walther, 20/11/2016
The phenomenal pianists played these works [Busoni’s complete works for two pianos] as if lost in a dream, so that (…) one believed that it was here and only here (except perhaps in the music of Bach himself) where musical freedom had been achieved.
Süddeutsche Zeitung, Julia Spinola, 5/9/2016
The GrauSchumacher Piano Duo from Berlin gave a spellbinding concert, which opened with Bach reinvented by György Kurtág elegantly and Busoni extravagantly (his mammoth Fantasia contrappuntistica). These works were played from memory, a feat in itself, with every line of counterpoint clearly voiced, every pianistic flourish and crossing of parts delivered with fantasy. The four hands of Andreas Grau and Götz Schumacher seemed to spring from one head and heart.
The Guardian, Fiona Maddocks, 18/10/2015
[Brigitta Muntendorf’s] piano work “The key of presence” is great music for light instrumentation: the GrauSchumacher Piano Duo handled the amplified piano and their microphoned bodies expertly.
Neue Musikzeitung (nmz), Andreas Kolb, March 2015
The solo parts, which are of breakneck virtuosity, are played on two grand pianos (…) by the renowned GrauSchumacher Piano: fast runs, precisely flung into the orchestra passages (...).
Berliner Morgenpost, Matthias Nöther, 23/1/2015
There is a lot going on in “Le temps, mode d’emploi“ (2014) for two pianos and live electronics – the GrauSchumacher Piano Duo and SWR Experimentalstudio performed the world premiere of this 50-minute work brilliantly. The construction is one of elegant strength, which at times feels spontaneous, and the pianists’ spectacular playing combined with electronics is highly entertaining. (…) The polyphony of time that is produced is so invigorating that the time just flies by.
Neue Zürcher Zeitung, 15/5/2014 (on the world premiere of Philippe Manoury’s )
Forceful, spectacularly virtuoso (…). This performance is a model of sustained alertness, the recording admirably spacious and sonorous.
Gramophone, Arnold Whittall, March 2011 (on the CD recording with works from Bartók and Rihm)
Instinctive certainty of their interaction and technical brilliance mean no more than approximations to their excellent concert in Muri. Their playing is always inspired and they use it to change interpretational perspectives from piece to piece. (…) They often intersperse accelerandi and ritardandi; their dynamic gradations seem to be infinite. Even a work like Variationen über ein französisches Lied in E minor D 624, which is a quite innocuous piece, becomes a highlight of the evening. But the Fantasie in F Minor D 940 in particular was a real treat (…). Here the Grand Master Schubert meets the superb art of interpretation.
Schweizer Musikzeitung, Torsten Möller, July/August 2011
Both pianists in the GrauSchumacher Piano Duo, Andreas Grau and Götz Schumacher, find an excellent balance between diligence necessitated by the character of the piece and a sound quality that remains clear up to the most hazy ray of light, both of which contribute to the listener’s understanding of the project.
Diapason, Benoît Fauchet, February 2010 (on the CD Kosmos. George Crumb, György Kurtág, Karlheinz Stockhausen, Béla Bartók, Peter Eötvös)