Both the Waltzes and the Hungarian Dances are extremely demanding in their two-hand form, and in the latter collection you could often believe that the 20 fingers of two duettists must be involved, so many notes are being played in all registers (for an example, try No 8 in A minor).
However, the technical problems hold no terrors for this pianist and her performances are convincing and attractive. What more need be said about this playing of music in which Brahms portrayed, in turn, sophisticated Vienna and untamed Hungary? Well, not a great deal. The quicker Waltzes have plenty of vivacity, and the slower ones are lyrical in an aptly Viennese manner.
Tempos, textures, phrasing, rubato and pedalling are well managed and the playing has a very convincing blend of subtlety and simplicity.
She treats these 16 pieces as a sequence, as Brahms's key structure allows, and leaves relatively little gap between them. The HungarianDances have a darkly surging Magyar energy and sound that are very pleasing: indeed, Biret seems totally at home in this music. The recording is a bit larger than life, but perfectly acceptable.

This is another valuable addition to Idil Biret's fine series of Brahms's solo piano music.... her performances are both convincing and attractive.