Ann Schein

1980-1981 Chopin Series

October, 1980 – March, 1981, Alice Tully Hall, New York City

3 Sonatas, 4 Ballades, 4 Scherzos, 4 Impromptus, 24 Preludes, 24 Etudes  (Opus 10 and Opus 25), Selected Mazurkas, Nocturnes, Waltzes, Polonaises, Concertos (No. 2 in f minor, Fantaisie on Polish Airs, Variations on “La ci darem la mano”), Chamber Music (Piano Trio, Cello and Piano Grand Duo Concertante, Variations for Piano Duet, 8 songs).

Byron Belt, Newhouse News Service, January 18, 1981

“Triumph by Ann Schein”
“Lincoln Center’s Alice Tully Hall has been the setting for one of this season’s musical highlights. Pianist Ann Schein is in the midst of a six-concert series devoted to instrumental and vocal music by…Frederic Chopin, and it is a triumph in every respect…Miss Schein must be recognized as one of today’s outstanding keyboard artists, certainly one of the most wonderfully satisfying interpreters Chopin has ever had…Enthusiasm shines in her stage presence and in her music. Everything she plays emerges gracefully and with complete spontaneity, growing out of the poise with which she lives, the assurance of an astonishing technique and her full understanding of style and mood.”

Shirley Fleming, New York Post, December 3, 1980

“Pianist Ann Schein reached the halfway point in her bold six-concert foray into the music of Frederic Chopin…Miss Schein has a beautiful way with the flowing, lyrical line so characteristic of Chopin, and she can spin out a ribbon of melody with delicate inflections and a smooth, glowing surface…Her intelligence and temperament favor restraint…She is at her most persuasive in intimate moments – the limpid opening of the Polonaise-Fantaisie, the slow movement and dancing finale of the (f minor) Concerto are cases in point.”

Edgard Feder, France-Amerique, October 23-29, 1980

“The program for this first evening (of the Chopin Series) with a full house, presented the three Sonatas of Chopin. In the First Sonata, a youthful work composed while he was still living in his native country, his genius already showed itself and one can recognize his inimitable style…the terrifying ‘Finale’ that Ann Schein elevated with indescribable fire produced a tremendous effect. In the Second Sonata, Miss Schein demonstrated treasures of sensibility, giving an unaccustomed aura to the tragic majesty of the funeral March, playing the second theme with a poetic delicacy and compelling intimacy of emotion. In addition, the sinister rustling of the Finale was elevated to an atmosphere of hell, creating a veritable Dante-esque atmosphere. At the conclusion (of the recital), the Third Sonata in b minor was played in the “grand manner”, giving the impression of exalted heroism. With her power and fiery temperament together with a phenomenal virtuosity, Ann Schein is in the first rank of pianists today. The long and wildly enthusiastic ovation of the public overwhelmed by her masterful playing, was a just reward for her magnificent talent.”

Harris Goldsmith, Musical America, October, 1980

“The American pianist, Ann Schein, gave the first of six all-Chopin recitals at Alice Tully Hall. She plays with a beautifully molded legato tone and appealing sincerity, and she was able to bring out the best aspects of Chopin’s salon-like First Sonata, giving it cohesive stride and subtle coloration that caused one to wonder why the work is so seldom heard…Her general lucidity and articulation are a joy to the ear…(her) subjectivity is winningly incorporated into an overall conception…”

Harriet Johnson, New York Post, October 14, 1980

“Schein Sheds Light On Chopin”
“Pianist Ann Schein’s name spells light to me and while I don’t especially want to use a play on words, I am urged to do so in describing her all-Chopin recital in Alice Tully Hall last night. If the first (recital) is any indication her interpretations will be animated by a pervadingly positive, shining force that is a balm in this chaotic world...Not only does Miss Schein richly comprehend the inner life of Chopin but she knows how to use tone and touch in the grand manner so that the composer’s uniqueness really speaks up and out as if he were himself at the keyboard.”