II. PIANO WORKS BY HAYDN
	Photograph by Catherine Kirkpatrick	SONATAS     in A #30, B-flat #18,    E-flat #28,G #40;    F minor Variations.
	In the earlier works, she brings ordinary scale passages and rhythmic patterns to life without sounding self-conscious or eccentric, just as - at the other end of the spectrum - she brings to the climax of the late, great F Minor Variations a wonderful sense of fire and freedom. The naturalness of a live performance is captured perfectly, as is the artist's fine sense of rhetoric without bombast. Charles Timbrell, Critic and Piano Literature Scholar, March, 2006 I loved the Haydn - very careful phrasing and heartfelt playing with no passagework tossed off or taken for granted; it sounds as if all four of William Blake's eternal faculties (Zoas) are integrated in this playing, which means that Jerusalem is nigh. It sounds like whose Haydn that I know? No one's really. But on CD it belongs in my top tier/Pantheon which includes Brendel, Rudolf Serkin, and Nadia Reisenberg (plus the alas uncd-d Malcolm Frager). Of these four the rubato and passagework remind me most of Serkin (who recorded only two Haydn sonatas), but I prefer Garniez' tone to his. I also prefer her playing to two very good Haydn pianists (Ax and Schiff) and one ok one (Buchbinder). But I would stress its uniqueness more than trying to "place" it. Daniel Miller These recordings of five Haydn sonatas have a touching, songlike intimacy and depth of feeling. They renew one's dulled sense of what a sonata or a set of variations can be good for, tapping their real expressive resources with the reserve and ardor, refinement and power to be found there. They open the heart to this music in an uncommon way. Michael O'Brien
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