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James Harrington
American Record Guide, July 2016

Biret plays Bach on the piano with minimal pianistic touches. She uses very little pedal, but can phrase voices just with her fingers. She does not adopt the harpsichord-like terraced dynamics of just loud and soft, but her crescendos and decrescendos are suitably limited. © 2016 American Record Guide Read complete review on American Record Guide




Infodad.com, February 2016

…Biret delves into both the formal elegance and the emotional content of Bach’s music, allowing it to flow naturally while effectively showcasing the rhythmic differences among the dance forms in the Partita No. 1, French Suite No. 5, and English Suite No. 3. Biret’s formal skill comes through most clearly in the Chromatic Fantasia and Fugue in D minor, BWV 903, where her pacing and handling of the fugal voices are well-balanced and as contrapuntally convincing as they can be on an instrument not constructed for counterpoint. © 2016 Infodad.com Read complete review



David Denton
David's Review Corner, January 2016

Idil Biret was, as an infant prodigy, introduced to the music of Johann Sebastian Bach at the age of four and his works have remained part of her life ever since. Now seventy years later her performances are as fresh and life-enhancing as any of today’s younger generation, with her every note infused with affection. Regular readers will know of my aversion to Bach played on a modern piano, but I have to confess that I have been persuaded to suspend such thoughts so as to enjoy Biret’s musicianship. She and I start out together in her avoidance of the sustaining pedal that was not available to the composer, the dry and crisp opening Fantasia a joy to hear in such a rigid rhythmic framework, while the strands of the following fugue are so lucid. I was then particularly delighted that in the First Partita she never looses sight that most of the inspiration came from French dance, with just a slight loosening of rhythmic exactitude to shape phrases in the lively final Giga. It sets the scene for an even more relaxed approach to the Fifth French Suite, where the sun always seems to shine on the six dances, the sprightly Courante a perfect foil for the following cool Sarabande. There is nothing English in the Third English Suite apart from it having been—in all probability—composed for a wealthy Englishman. Indeed it is in the same French style but with added embellishments, the two Gavottes a particular delight. The dry quality of the recording helps her greatly in achieving the period quality of the harpsichord. © 2016 David’s Review Corner





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