CD Press


May 2010

Interviewed by Maïa Brami

Hélène Tysman, A first Chopin CD that is a prelude to the best!



favourite CD

Chopin and death’

May 2010, no.3430

by Philippe Gut


The composer’s moods and torments are admirably reproduced here with a great sense of propriety and power that compel admiration.


Top Audio.fr

April 2010

by Yvette Canal


Coincidence of the calendar? It is during a period of national mourning in Poland that this CD has been released, containing Frédéric Chopin’s Sonata No. 2, called the ‘Funeral March’, as well as his 24 Preludes. They are masterfully interpreted by the young Hélène Tysman, following a precise, intelligent rereading of the original manuscripts.


Notre Dame

January 2013

by Father Claude Ollivier


A noteworthy disc. A programme that perfectly reflects Schumann’s most intimate feelings in a warm version, radiant with truth.




Indésens Record


Robert Schumann - 1849

Chamber music with winds


Philippe Berrod, clarinet

André Cazalet, horn

David Gaillard, viola

Alexandre Gattet, oboe

Marc Trénel, bassoon

Hélène Tysman, piano






Frédéric Chopin

Sonata No.2 in B flat minor, Op. 35

24 Préludes, Op. 28   








"Maestro" distinction from Pianiste magazine N°83.


by Philippe Gut

January 2013


All accompanied, or even borne, by a pianist, winner of many prestigious competitions, Hélène Tysman. That gives us a superb CD of extraordinary diversity.


L’Education musicale

By Patrice Imbaud

January 2014


Fine work, the confirmation of an undeniable talent.


An interpretation characterized by its sombre clarity, its fiery delicacy, its melancholy sweetness, between exaltation and suffering, between passion and abandon. Fine work, the confirmation of an undeniable talent. An admirable disc.


Disc of the month on Grey-Panthers

By Ferruccio Nuzzo

January 2014  


‘Another significant discovery of Chopin, a surprising opening.

The “singing” of Hélène Tysman’s keyboard is a revelation.’


But, and above all, there is the ‘singing’ of Hélène Tysman’s keyboard, the artisan of this revelation. Like the flight of a great seabird, borne by mysterious, invisible currents, of which the pianist intuitively understands all the secrets, letting herself be carried along in a charming design, especially because, beyond the obvious elegance, the hidden architecture comes through. Then suddenly, to this invisible, hidden force is added the decisive beating of the wing, the unique, incomparable impulse that reveals to us a Chopin who knows how to be silent as well as passionate, in an approach that is attentive more than blindly involved, without any of this blathering that, too often, makes Chopin unbearable.