ClassicsOnline Home » SCHUMANN, R.: Piano Concerto / GRIEG, E.: Piano Concerto (Biret Concerto Edition, Vol. 1) > Review List



SCHUMANN, R.: Piano Concerto / GRIEG, E.: Piano Concerto (Biret Concerto Edition, Vol. 1)

Composer(s):Grieg, EdvardSchumann, Robert
Artist(s) Wit, Antoni, Conductor • Bilkent Symphony OrchestraBiret, Idil, piano
Period(s) Romantic
Genre Classical Music
Category Concertos
Catalogue 8.571270
Label Idil Biret Archive
Quality   320kbps
Album Price
 
MP3
USD 7.99
 

 


‘The Turkish pianist Idil Biret was one of the greatest child prodigies of the 20th century.;…This is the kind of playing that makes reservations irrelevant; there is no one like her, which is what defines a unique artist.’ (Boston Globe) ‘Extraordinary memory, brilliant technique and unusually insightful performances—these are the features of Idil Biret’s music making which allow her to play works inaccessible to other pianists, even eminent ones. The range of her repertoire is truly astounding…Her repertoire includes over one hundred concertos. In her playing Idil Biret reaches the levels of her great masters Kempff and Cortot.’ (1998 Duszniki Festival, Poland)


   




Review By Giv Cornfield,The New Recordings, Cliffs Classics,September 2009

Perhaps I was expecting more than I should have from this pair of Romantic staples of the piano concerto repertoire. This thought crossed my mind after hearing the first few measures of the Schumann, which failed to soar. This, like the Grieg and so many other great Romantic piano concerto showpieces, demand an interpretational technique altogether different than Beethoven, and so here I was disappointed. Perhaps if Ms. Biret had the advantage of a top-rank orchestra to play with…The Grieg fares only slightly better, but with the tons of other, better recordings by keyboard giants past and present, all I can say is sorry, in my humble opinion this is just another indistinguishable branch on that huge tree.




Review By David Denton, Naxos,March 2009

If the CD catalogue is burdened down with recordings of the Schumann and Grieg piano concertos, this newcomer still has plenty to offer. Finding such a crowded market, so many young artists believe they have to strive to offer something different to make them stand out from the crowd. By contrast Biret’s main attraction is her simplicity of approach, her performances a carefully considered facsimile of the printed page. They are never breathless and allow phrases to be moulded with elegance and lyric beauty, the splashiness we oft here at the opening of the Grieg replaced by lucid clarity. If Biret shuns self-indulgent virtuosity, when the big moments of both concertos arrive there is no lack of impact. I particularly value the forward momentum she brings to

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