French piano repertoire occupies a significant place in her life. Anne Queffélec played a groundbreaking role in the re-appraisal of the music of Erik Satie in the late 1980s, and her releases featuring music by the “gentle avantgardist” are still regarded as benchmark recordings. Her interpretations of Debussy and Ravel likewise shine in the most shimmering Impressionist colors. Ravel’s Miroirs are a mini-cosmos of technical challenges for the pianist, a quasi-bottomless treasure-trove of wonders. We do not know the origin of the title Miroirs he chose for the five pieces, each one dedicated to one of the artists in his Paris circle of friends. Anne Queffélec sees the title as an invitation for the pianist to follow the composer through a labyrinth of mirrors, “like Alice in Wonderland”. Queffélec, the laureate of several international piano competitions, owes her love of Mozart to her teacher and mentor Alfred Brendel, among others. “Music has more to say about human existence than words could ever express”, she once remarked, and that pronouncement closely reflects Queffélec’s intimate, profound approach to music.