[…] Caterina Grewe immediately impressed her audience with the grace and sensitivity of her keyboard manner and technique. Every nuance of light and shade was depicted, and watch-like precision was combined with the fluidity of dance. The flow of the hands on and over the keys was a pleasure to watch as well as to listen to. Technical proficiency was even more in evidence in the item that followed, two Capriccios from Brahms’s Eight Piano Pieces Op.76. […] In Schumann’s Sonata in F minor Op. 14 in which again great technical demands are made, with a final movement marked ‘Prestissimo possible’, ‘as fast as possible’, Caterina was more than equal to the challenge. More importantly however, she was clearly in deep sympathy with the work’s emotional core, from which Schumann’s romantic heart shines forth. Nowhere was this more apparent than in the third movement, a set of variations built on an Andantino composed by Clara née Wieck.