Composer Francis Poulenc, himself an accomplished pianist, praised her as "the adorable Monique Haas who plays the piano ravishingly", and Henri Dutilleux described her as "a celebrated interpreter of the music of Ravel".
Her recordings of Debussy include the comparatively neglected Douze Études, which won a Grand Prix du Disque, and the Préludes.
French pianists of Haas's generation were moving away from the facile, often brittle technique associated with Marguerite Long (frequently referred to as the "diggy-diggy-dee" style).
[2] Haas combined the cleanness and precision associated with the older school with a warmth of tone colour that reflected the influence of Alfred Cortot.
Her unsentimental readings, especially of Debussy and Ravel, give a different view of their music, presenting them as both modern and as inheritors of the tradition of Couperin and the clavecinistes of the 18th century.