(...) Because Pilar Bayona is a victim of especially serious circumstances among musicians: She is passionate about music. A terrible fault in a soloist who has to cultivate half a dozen programmes and ignore the rest. Pilar Bayona wanted to know "all" the music. Her repertoire expanded wonderfully. She immediately wanted to play each work of each era, by each author, according to what her scrupulous, interpretative conscience advised her.
Today, Pilar Bayona is the ideal pianist for music lovers. Her character keeps her reserved from the commercial fuss; she opts not to waste her time and embitter her character fighting with "managers" and arguing "cachets" [fees]. Instead she surrounds herself by some intelligent people within whom burns the flame of musical admiration. A half a dozen people who really feel the vocation of listening to music. And so begin the interminable evenings, in which Pilar Bayona makes appear as if from the depth of her conscience her enormous repertoire, almost all the entire music piece for piano, in which the interpretation of a music piece suggest another, attracts yet another in virtue of misterious evocations, and the entire history of art slides between her fingers and the piano keys.
Intelligence, knowledge of the music she interprets, a love of beautiful sound with suitable gradations for what each style and tone of the emotion requires. (…)

First of all, a thousand apologies to the dear readers for my delay in communicating this musical news. And worst of all, given my lack of memory, should I forget something. I will start with Pilar Bayona, a great pianist, master in her art, of exquisite sonorities, and to whom it give pleasure to listen to her interpret modern music, with its iridiscent effects of colour. Dear Pilar: why don’t you come to Madrid and show us how it’s done? Come!

(…) Another great concert of the week has been that of Toldrá at the head of the National Orchestra. (…) Pilar Bayona, our great "maña" [a person born in Aragón] triumphed in the second half. Refined and energetic, intelligent and artist, she drew back from the ovations and among the brilliance of her evening gown. 

(…) The pianist Pilar Bayona lent her assistance in the Schumann Concert. It is known that Pilar Bayona is, at present, the leading Spanish pianist. Madrid has been unfair in not giving her more occasions in which to play, and we cannot understand how "La Cultural", so attentive towards Spanish values, has let go by its courses without remembering this artist, who in the Spanish pianist’s school occupies an exceptional place.
Pilar Bayona is not only a pianist of complete technique, but a fine artist, who in the Saragossa musical societies has maintained a curiosity which is simply admirable. (…)
To correspond to the fair ovations that greeted the appearance of Pilar Bayona, which we hope will continue, the gentle pianist played "L’Ile Joyeux" by Debussy, putting into it all her energy and technique. 

(…) We will not find an artist at the top of her profession such as Pilar Bayona. She has conquered a large series of triumphs to which we must add the obtained with Tchaikowsky piano concert and the Symphonic Variations by César Franck, a model piece, unwithering, which we will place, without hesitation, among the best of French music. (…)

(…) Pilar Bayona, was triumphant in the Tchaikowsky piano concert, with a brilliant and truly masterful performance. She gave us an exceptional gift, "Lavapiés" by Albéniz, sweeping the keys with energy and pure style. Pilar Bayona, a great pianist of whom we would like to hear more. (…)

(…) Today Pilar Bayona returns to Madrid. In the Athenaeum she has us listening to a programme of great interest, in which she has discarded, with great courage that few possess, whatever piece that others use to mesmerise the public. Not one trite piece, not even one piece of empty virtuosity appeared in this programme that could remain as a model in the annals of the Philharmonics at the big rambling house in Prado street. (…)
If the programme of Pilar Bayona constituted a novelty in its three quarts part -then musical pieces as old as "Capricho" by Bach are rarely heard-, The merit of this aragonese pianist lies, in the first place, in having served in a masterful way. Nobody, who hadn’t been informed previously, would have suspected that pieces such as "Sonata Española" by Oscar Esplá, could be heard in first audition. What clarity! What limpidity! What lineal unity! and what profound feeling that only Pilar Bayona knows how to imbue. (…)

(…) The Athenaeum has done a great job in bringing Pilar Bayona. Madrid needs her so much to give this concert dedicated to Ravel. (…) Forced to choose, Pilar Bayona has chosen well, giving us three mayor pieces of the Ravelian piano: "Miroirs" 1905, "Sonatine" 1905, and "Gaspard de la Nuit" 1908. (…) Last year Pilar Bayona brought to us the Sonata by Esplá, which since has never been played by anybody; this year, this Ravel programme which could only be played by her. Now, it’s not only about her being the most extraordinary performer; she is above the interpretation of a score, the fight with the mechanics of the art doesn’t mean anything to her. Her Ravel is a Ravel from within her, dreamed, meditated, tested during many years, and no other Spanish pianist -I have thought about what I’m going to say- could have given this concert with as much right as Pilar Bayona. (…)

This concert of Pilar Bayona in the Romantic Museum, dedicated integrally to Debussy, makes us, in the first place, grateful: since her youth, since the years of Adolfo Salazar, when the concerts at the "Residencia de Estudiantes" layed the first cornerstone for so many things, Pilar Bayona worked with uncomparable tenacity, intelligence, and feeling to acclimatize spaniards to contemporary music, and in a unique way, impressionist music. It was not a this or that released piece by Debussy or Ravel, as so many pianist have done (…) but all impressionism as a system, as one body. When we owe someone the discovery in our youth of unknown areas for sensibility, gratitude is forever: this is the case of Pilar Bayona with French music.
But this gratefulness has nothing to do with nostalgia, because here is Pilar Bayona, youthful as ever, dominating all the pianistic repertoire but always choosing the most difficult: a concert integrally dedicated to Debussy, maintaining at the highest level possible, generous in nuance and plenitude. She is always a great achiever. 

(…) It is essential to be by her side before a concert, or at a rehearsal, or while she studies in intimacy: she talks, comments, evokes images, the history and the technique, the explanation of a sound, the motivation of a variation, a change in tonality… they are glossed, recreated, saying it without giving it much importance, while her fingers slide across the keys making the music come alive, then creating what could be called "a concerto for Pilar and piano".
This concert can be established because Pilar Bayona is not just another pianist, but a pianist with an insatiable musical curiosity, which she files away in her amazing memory, like no others performers can easily do. (…)

(…) Remembered fondly were the sessions given in the spring of 1936, in the auditorium of the "Residencia de Estudiantes" in Madrid, in which Alfonso Buñuel, a great bond, summoned us to listen to Pilar Bayona. Among those present were Adolfo Salazar, Federico García Lorca, Pepín Bello, Acario Cotapos, Bebé Morla, Pablo Neruda, Eduardo Ugarte, Luis Recassens, etc. Sitting in a semi-circle around the Bechstein, Pilar played, and played from five to ten in the evening, without tiring. Music of all eras, a lot of them unknown to the audience, and others answering our requests (Federico always requested "Almería" by Albéniz, and Adolfo Salazar Debussy and Ravel) at which Cotapos, a Chilean composer and a colourful character replied with his great accent: « Pilar, play whatever you feel like playing » . (...) 

(…) Those who have dealt with Pilar Bayona have the great honour and privilege of having known a great genius. A genius of universal nature and aragonese roots, the same as a Gracián, a Goya or a Buñuel. A musical genius, who in addition to all this was born, endowed with the finest of human qualities: goodness, solidarity, compassion, loyalty sincerity and nobility. In Pilar Bayona was synthesised in flesh the aragonese idiosyncrasy. A musical genius to whom envy and adulation were unknown. With knowledge of her worth, but humble. And of a firm and direct disposition when the circumstances required it. Pilar in defence of the truth always spoke so clearly. (…) 

(…) It seems very difficult to define the influence of the Saragossa pianist Pilar Bayona in the field of surrealism. After all, it is evident by the freedom she emanates and transmits during those musical nights in her house with her friends, an authentic cultural focus of wide consequences that remain after the Civil War. But a focus on avant-garde musical concepts. Keeping in mind that she always lives in Saragossa, being admired by multiple artists. Not to mention her friendship with García Lorca, as well as with Luis Buñuel, and the plastic surrealists Alfonso Buñuel and Luis García-Abrines⁶.