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See latest reviews of other albums..., November 2012

There is sensitivity aplenty in the fifth volume of the Idil Biret Solo Edition…Biret is a thoughtful pianist, never flashy, with plenty of technique but a willingness to subsume it into the music in order to interpret the works as sensitively as possible. The major work here is Kreisleriana, and Biret fully brings out the contrasts among the suite’s eight short movements, which are by turns agitated, expressive, stormy, gentle, frenetic and tranquil, ending with a conclusion marked Schnell und spielend (“quickly and easily”) that is anything but easy, but that Biret handles effectively as a capstone to the work. Blumenstück calls for a very different, much milder approach…Biret…does a fine job throughout in the shifting moods that characterize this…music. Faschingsschwank aus Wien…has many charms and a great deal of melodic interest, and Biret explores it with a knowing touch and a sure sense of style. Like the ongoing Respighi series, the still-in-progress Idil Biret Solo Edition has already produced much excellent and very well-played music and shows every likelihood of presenting even more in the future. © 2012 Read complete review

David Denton
David's Review Corner, November 2012

As the series goes backwards and forwards capturing varying parts of Idil Biret’s long and distinguished career, we are here in the present time. ‘A positively wild love is in some of the movements’, Schumann was to write to the work’s begetter, his beloved Clara. Biret’s love is more mature and less impulsive than we often encounter, but it is none the less heartfelt, and she moves between the composer’s split personality with all the swift changing moods that entails. Maybe I enjoy the more dreamy passages than the stormy ones as Biret caresses the keys to create passages of tender beauty. There are so many outstanding recordings in the catalogue, not least those from Martha Argerich and Radu Lupu, but I would like to add this one, because it sounds so natural and unforced, the dialogues between left and right hands always so fascinating. It comes coupled with a gorgeous account of Faschingsschwank aus Wien (Carnival in Vienna), as you will soon discover in the translucent opening Allegro and the calm beauty of Biret’s following Romanza. Then we move to the agility of the Scherzino, and a perfectly weighted finale. There is rubato, but never used to excess as I have heard elsewhere. Sandwiched between is the Blumenstuck, which the composer described as a garland of musical flowers ‘prettily put together’, words that would ideally describe the performance. The engineer has created a warm and mellow sound in sessions recorded at the beginning of the year. © 2012 David’s Review Corner

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