Paris Recordings – 1949, 1953, 1959

After listening for a while (to orchestral music on the radio) Idil would detect the main melody and then play it on the piano with one finger. Afterwards, when she reached the age of four, she would play these with two hands and with the correct harmony. Bach preludes and fugues from the Well Tempered Clavier, for example, which even the talented musicians took considerable time to study and memorise, were mastered by Idil in only a few days after listening once or twice, after which she would play these without a single wrong note. (Leman Biret, 1988)