Notes and Editorial Reviews
"[Perlemuter's] Fauré is a delight. There is a noble dignity to his Thème et Variations which is neither as fast as Kathleen Long nor as spacious as Germaine Thyssens-Valentin, to take two pianists of the older generation who were flourishing in the 1940s and 1950s when Perlemuter was a younger man. The occasional finger slips are more than compensated for by virtue of his sense of line, texture and sonority. The First Nocturne reveals a template of his playing as a whole – unmannered directness devoid of extraneous romanticised gestures but revealing a sure awareness of the structural implications of the writing and its expressive potential. He keeps the left hand rocking in the Sixth, in D, ensuring the melody line remains spruce and uncluttered. This playing probably didn’t find favour with those who preferred a more malleable and obvious gestural response but Perlemuter’s way here is to highlight melodic highs and refuse to homogenise the textures. He is never bland and never boring. So, yes, the Seventh Nocturne may seem terse and unreflective but it has its own rewards and stance. The Twelfth has breathless momentum leavened by assured rubati. Pedalling is equally brisk. The Second Impromptu is rightly playful and the Fifth Barcarolle has great brio, and is taken at a perfect tempo (Thyssens-Valentin and Collard variously agree in their recordings)."
-- Jonathan Woolf, MusicWeb International