Reviewing this set of discs meant picking up certain threads from two previous reviews in this journal (November 2010 and February 2011), comparing different interpretations of works by Schumann and Chopin, responding to unfamiliar repertory and returning to favourite works presented in new guises. Of these four activities, the first was straightforward, the second complex and sometimes hazardous, the third and the fourth highly rewarding. Jan Vermeulen’s Schubert: Works for fortepiano, vol.6 (Et’cetera ktc1335, rec 2009–10, 122′) and Hardy Rittner’s Brahms: Late piano works, vol.3 (Dabringhaus und Grimm mdg904 1680-6, rec 2010, 75′) perpetuated my previously positive reactions to other volumes. In vols.3–5, Vermeulen, playing on an 1826 Streicher fortepiano, substituted ‘the balmy, insipid legato serenity’ (February 2011, p.136) of typical Schubert performance with something much more invigorating by energizing accompanimental figuration, zealously embracing histrionic gestures and deftly handling Schubert’s frequent changes of tone colour. Vol.6, again mixing in sonatas with shorter compositions, boasts the same qualities. An outstanding feature of vol.1 of Rittner’s Brahms series, the pianist’s handling of the lower dynamic ranges, was replicated in vol.3, where he moves between pianos by Schweighofer’s Söhne (1876–7) and Streicher (1870). In the Intermezzo op.118 no.2, Rittner achieves audible variety within an extremely restricted dynamic range. He also achieves satisfactory clarity in the faster figuration of op.116 no.7, and op.118 nos.3 and 6, despite the instruments’ considerable resonance.