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Donald R Vroon
American Record Guide, January 2016

Idil Biret is a pretty dependable player—always moderate, never eccentric, never very fast or very slow. Her Mozart is relaxed and peaceful, and that seems fine to me.

So we have two pleasant and reasonable performances by the pianist. The orchestra sounds more substantial than the Cannes one did for Badura-Skoda, and although vibrato is somewhat minimal the strings never sound anemic or tinny. They make a substantial sound, though they are not a full-sized orchestra. © 2016 American Record Guide Read complete review on American Record Guide, October 2015

Certainly [Biret] handles the Piano Concertos Nos. 13 and 17 with firm understanding, both intellectual and technical, and with a wonderful sense of the music’s ebb and flow, its structure and its emotional evocations. …These are the performances of a pianist comfortable in her knowledge of the music, sure in her technique, and certain in a lifetime’s study of a composer who repays dedication by inviting performers and listeners alike to find new things to explore each time his music is heard. © 2015 Read complete review

David Denton
David's Review Corner, September 2015

Recorded in London last year, Idil Biret’s unaffected approach to Mozart has changed little over her very long career, clarity and beauty being the hallmark. Her relationship with the London Mozart Players stretches back over thirty-three years, when she first appeared with them on London’s South Bank in an all-Mozart programme. Both concertos come from Mozart’s maturity and was one of a group of three that he described as ‘a happy medium, neither unnecessarily complex nor overly simple, pleasant on the ear—but not without substance’. That description would be a perfect resume of Biret’s performance, the clarity and transparency of her playing, bringing a sense of pure pleasure. Her approach to the Thirteenth is unhurried, the orchestral part bringing a weight upon which Biret can weave a web of decorative filigree. The Seventeenth, completed the following year, 1784, has become much better known, its opening being both extended and of symphonic gravity. Again Biret impresses with her sense of purpose and unmannered grace, the phrasing shaped so that the music unfolds naturally. Patrick Gallois obtains perfectly weighted support, the string intonation precise, with the woodwind—particularly the important bassoon part—so eloquent. He also captures the underlying darkness in the central movement, to which Biret adds sadness. Avoiding the currently fashionable dash through the finale, a mood of wistfulness colours the central section, before Gallois wraps up the score in the high spirits that come straight from the opera stage. The clear and unfussy recording is an ideal adjunct. © 2015 David’s Review Corner

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