I have already praised Idil Biret's Brahms playing in these columns, not least when I reviewed her account of the first two sonatas in May. Now, with the last and finest of the three, she rises splendidly to the occasion. The opening has tremendous authority and, unlike some other pianists, she does not allow the tension and momentum to slacken when the dynamic level drops very soon after. Her tempo for this great first movement is firm, too, and I think rightly: indeed, the exposition repeat ends at 4'29'', around a minute less than in some other performances I have heard over the last few months—and it is not just because she can encompass the difficult octaves that immediately follow. Here is virtuoso playing, but, more importantly, it is a searching and telling interpretation: try the quieter music of this development section for an example of such artistry.
I am less impressed by the wonderfully dreamy second movement, which seems to me underplayed emotionally, but on its own terms it is quietly eloquent, as is the briefer Intermezzo fourth, while the scherzo that separates them has a compelling diablerie. The finale also makes a powerful statement. My chosen performance of this sonata, in a strong field, remains that of Murray Perahia (Sony Classical), which has still greater grandeur and range and is superbly recorded. However, this new one at super-bargain price can unhesitatingly be recommended alongside the other discs in Biret's valuable Brahms series. Her performance of the Four Ballades is also thoughtful and expressive, not least in the mysterious No. 4 which is also the longest. The recording is satisfying, if a touch congested in the very biggest passages.'