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Sang Woo Kang
American Record Guide, July 2015

Biret…delivers superb renderings of Scriabin’s etudes… © 2015 American Record Guide Read complete review on American Record Guide

Lynn René Bayley
Fanfare, May 2015

[Biret] possesses a clear, ringing sound and fine control of dynamics, and particularly in the later études—the opp. 8 and 42 sets—she seems to be quite involved in the energy of these pieces. Her technique is formidable in the best sense of the word…she attacks the keyboard with power and energy. © 2015 Fanfare Read complete review

Roger Knox
The WholeNote, February 2015

The overall tendency toward greater harmonic and rhythmic exploration connects with the often-improvisatory origins of Scriabin’s works, which Biret conveys with convincing rubato where appropriate. …this set is a good preparation for Scriabin’s later experimental, darkly mystical piano compositions. © 2015 The WholeNote Read complete review, February 2015

Scriabin’s coloristic effects may seem quite difficult to incorporate into solo piano music, much less to bring out in playing it. But Biret handles the material exceptionally well. Biret plays Op. 2, No. 1 and the Op. 8 set straightforwardly, emphasizing the various contrasts of mood and dynamics to fine effect. All the etudes really are study works, but the fluttering, cross-rhythms, and rhythmic complexities of the Op. 42 pieces set them apart from the earlier ones, and Biret conquers their technical demands with ease while giving Scriabin plenty of chances to communicate emotion as well as the necessity of flawless technique. The result is a wholly satisfying CD that showcases Scriabin’s piano music in terms of the interesting places where the composer started and where, even more interestingly, he later went. © 2015 Read complete review

David Denton
David's Review Corner, January 2015

Starting out his musical life as a touring concert pianist, Alexander Scriabin’s early compositions were mainly devoted to the solo piano and influenced by Chopin. Having disliked the formality of composing, he did not set out his Etudes in two neatly packaged sets as those who had gone before him, but issued them in different permutations and spread over the years 1887 to 1912. This left the later ones belonging to his previous a bygone era, though hearing them in order of composition shows how he tried to move to a more harmonically advanced style. So far as the performer is concerned, they are technically among the most hazardous piano pieces of that era and do not often turn up in concerts. In Biret’s hands they emerge as a well-balanced mix of virtuosity and poetic lyricism, while at the same time she is ever mindful of his detailed dynamic indications, and the need to shape each etude in a way that could make it stand alone. There is drama in her playing and also wispiness when called for, and I am sure Biret had a good reason for not including all the Etudes he composed, but decided to complete the disc with the opus 28 Fantasie. That offers another massive challenge of technical prowess and sheer stamina, and you feel a sense of excitement as she again faces Scriabin’s extreme challenges. © 2015 David’s Review Corner

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