Liszt: Symphonie Fantastique, S470 (from Berlioz, Op. 14) / Harold en Italie, transcription for viola & piano (after Berlioz), S. 472

"The most interesting release yet in the Idil Biret Archives edition of the Turkish pianist's performances from the 1970s until today, the two-CD compilation of Biret's rendition of two Liszt arrangements of works by Berlioz is fascinating on almost every level. Biret is remarkably in control, perhaps a touch too much so in the final movements; likewise, in the waltz of Symphonie fantastique, a little more rhythmic swing would have been welcome. But these are minor matters in an overall recording that is exemplary. Biret brings out Berlioz' themes and rhythms to fine effect…The entire achievement is a remarkable one, both musically and in terms of pianistic virtuosity: Biret's performance is worth hearing again and again, no matter how familiar the listener already is with Berlioz' original. And her reading of Harold in Italy is almost as good. The Liszt adaptation here is a particularly interesting one because Liszt, who created little in the way of chamber music, includes the solo viola for which Berlioz calls in the original work. Ruşen Güneş gives a finely tailored performance of music that Liszt sometimes lifted essentially intact from Berlioz, sometimes modified slightly to bring out one effect or another. Interestingly, the viola, which can tend to be subsumed into the orchestra in most Harold in Italy performances (because the work is not really a concerto but a symphonic piece with viola obbligato), comes through more clearly here, its role in the story more forthright and Berlioz' writing for it more transparent with only the piano accompanying it. This Harold in Italy never really sounds like chamber music-the piano is the lead instrument throughout-but the balance between Biret and Güneş is admirably handled, both players are well in tune with both Berlioz and Liszt, and the overall effect of hearing Harold in Italy in this form is nothing less than exhilarating."
(infodad.com)

"Idil Biret's reading of the Symphonie fantastique (WEA Finnadar SR9023) is, in many-respects the most remarkable thing of its kind in the repertoire…This is not a record that Berliozians or Lisztians will want to miss, for the Turkish pianist Idil Biret, a pupil of Cortot and Kempff, here confirms the favourable impression she made in this piece at the Queen Elizabeth Hall in London during April of this year. There are a few minor deviations from Liszt's text, but she possesses the very large technique and range of accent and dynamics needed; and she is excellently recorded."
- Max Harrison GRAMOPHONE - UK 1979
"Idil Biret was a thousand times right in playing the Symphonie fantastique by Berlioz, in Liszt's transcription (at her Paris recital). With confounding technical skill and an admirable musicality Idil Biret has avenged pianists for the insult Berlioz once committed against them by ignoring them."
- Claude Samuel LE MATIN - France 1979
"Only a brave soul and a confident technician would set out in public to play Liszt's transcription for piano of Berlioz's "Symphonie fantastique" as Idil Biret did at Alice Tully Hall on Thursday night."
- Donald Henahan NEW YORK TIMES - USA 1979
"Compared to so many (orchestral) recordings of the Symphonie Fantastique this Liszt version by Idil Biret is vastly preferable, a record for a desert island. "
- ORPHEUS Magazine - Germany 1979