Kyung-Wha Chung and Radu Lupu [have] an extraordinary fluidity that allows the cyclical ideas of the piece to modify, contort and transform from one to the other with an ease that illustrates with painful beauty the inevitability behind the growth of the musical ideas of the piece. No restatement of a theme is the same, though those tiny shifts are very subtle. There is great fluidity, too, in Lupu's accompaniment, which ebbs and flows with Chung in a perfect reflection . . .