For well versed insiders of music, Idil Biret is since years a trusted, respected and beloved artist. Her Skrjabin, Bartók and Prokofiev interpretations are exemplary classical benchmarks. The discipline of her powerful grasp and approach of the music has led, especially for works of our century, to a stylistic congruence between the written score and the interpretation, which is way outside of the unusual norms of conventions with so called “Star raving and rantings”, which, in the case of Idil Biret, makes us all aware of an outstanding artistic potency of the highest standards of excellence!” – DIE WELT, Germany 1979

“Idil Biret takes the opening movement of Debussy’s Children’s Corner very briskly and impetuously, but the performance then settles down and is sensitive and well characterized, especially the closing Golliwog’s Cakewalk. Good recording and recommendable couplings, too.” – PENGUIN GUIDE, England 2009

“There is no question whatever that Biret’s reading of the Ravel Gaspard de la nuit takes its place among the most delicately wrought Ravel interpretations by any of the many great pianists renowned for their performances of French piano music.” – SOHO WEEKLY NEWS, USA 1977

“For years, Debussy’s Études, which are dedicated to ‘the memory of Frederic Chopin’, had been distanced from the programs of pianists, seen as dry, abstract, annoying pieces. However, apart from their importance in piano learning, these études are actually concise, emotional colorful masterpieces that are products of imagination.” – Ilhan Mimaroğlu (from an article on Debussy), Turkey 1961

Debussy 12 Etudes Konemann Music Budapest



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