Every once in a while, a musician encounters a composition whose universe is so vast and majestic that it inspires self-doubt, even fear: “Should I wait awhile before tackling this piece? Will I every be able to play it well enough?” The young David Fray experienced just such extreme emotions when he first approached Schubert’s three Klavierstücke, D. 946, but he quickly proved himself equal to the challenge. Indeed, the pianist’s performances embody the intimate and almost nostalgic spirit of these compositions, to the point that he seems to have discovered the secret of this music. One of Fray’s strengths is his ability to ground his work as a performer in detailed analysis of the musical text at hand while maintaining a natural and sensitive touch. One would even be tempted to speak of lyricism, but such a term seems anachronistic when it comes to describing the music of the Cantor of Leipzig.