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Reviews PIOTR ANDERZSWESKI
 

Bachtrack 22/05/2017 : Chamber Orchestra of Europe and Piotr Anderszewski in Mozart, Beethoven and more
Mozart’s Piano Concerto no. 25 in C major, K503 - …This is one of Mozart’s less frequently performed concertos, but to judge by this performance any neglect is undeserved. … Anderszewski is a thoughtful, contemplative pianist who shaped each phrase and gave a highly expressive account of the solo part, and this carried over into his direction of the orchestra. The rapport between piano and orchestra was superb. It often appeared that one was an extension of the other with neither dominant or subservient.
Beethoven’s Piano Concerto no. 1 in C major Op.15 - Anderszewski brought the same thoughtful approach to the Beethoven as he had to the Mozart, but gave a dazzling account of the showier moments such as the first movement cadenza. The lyrical second movement was beautifully played and the conclusion of the last movement was exhilarating. All in all it provided a perfect endingPeter Connors - Article

Pizzicato.lu 8/3/2017: Zärtliche Poesie und resolute Entschlossenheit
Mozart: Fantasie KV 475. Klaviersonate Nr. 14 KV 457;
Schumann: Fantasie op. 17, Thema und Variationen (Geistervariationen) WoO 24
…Anderszewski rückt die beiden Fantasien, die von Mozart und jene von Schumann näher aneinander, indem er in beiden Werken die oft abrupten Kontraste schärft, zwischen verträumten, kaum hörbaren Akkorden und metallisch schneidigen Fortissimi, zwischen totalem Mysterium und kraftvoll zum Ausdruck gebrachter Bestürzung.
Schumanns Fantasie verleiht Anderszewski eine beeindruckende Ausdruckstiefe, in dem er Poesie mit  Entschlossenheit mischt, das Ganze in einem extrem klaren und sauber artikulierten Spiel. …
Die sogenannten ‘Geistervariationen’ WoO24 imponieren durch die gleiche Mischung von technischer Strenge und poetischer Zärtlichkeit, in einer unablässigen Folge von Fragen und Antworten.
“The Polish pianist mixes poetic feelings with the desire to let the music become highly contrasted. Technically, his pianism is clear and finely articulated” - Remy Franck - Full article

Klara.be 6/03/2017 : CD  Fantaisies - Mozart - Schumann
Mozart hanteert in beide composities ook een even vrije als gedurfde muzikale taal. Anderszewski speelt ze met een ongewone gedragenheid, een grote lyriek (een erg mooi en gevoelig andante van de sonate) en intensiteit (zelden leek de finale van dezelfde sonate zo duidelijk de komst van Beethoven aan te kondigen!).
De Geistervariationen zouden Schumanns laatste werk worden, gecomponeerd in de dagen voor hij, voor de rest van zijn leven, werd opgenomen in een instelling voor geesteszieken. Muziek die balanceert tussen genie en waanzin. Maar Anderszewski lijkt, met zijn doordachte, expressieve en hoogst persoonlijke uitvoeringen, toch vooral de geniale kant van Schumann te willen benadrukken. - Bart Tijskens - Volledig artikel

Concertclassic 1/03/2017: Piotr Anderzewski au Théâtre des Chalos-Elysées - Concentration et introsepction
Interprète inventif, Piotr Anderszewski (photo) ne laisse jamais indifférent. Au Théâtre des Champs-Elysées, dans la série des concerts produits par Jeanine Roze, il présente un récital dense où le sentiment tragique transparaît derrière chaque œuvre avec une acuité souvent proche de l’introspection.  
 … La Sonate K. 457 de même tonalité prolonge cette impression de douleur et plonge dans des abîmes de souffrance. Pas de légèreté, aucune insouciance dans cette réalisation parfaite dont la spontanéité paraît exclue.
… Le pianiste arpente ensuite la Polonaise-Fantaisie avec fluidité, tout en dévoilant à travers les errances de la composition une liberté où la part de l’improvisation est toujours contrôlée par une technique supérieure et un subtil alliage des timbres. En bis, le second Cahier du cycle Sur un sentier broussailleux de Janáček capte l’attention d’un public subjugué par la puissance de concentration et les vertus poétiques d’une lecture hors du monde. - Michel Le Naour - Full article

Classiquenews.com 20/02/2017 : CD Mozart & Schumann: Fantaisies
Fantaisie K475 de Mozart - …Le jeu filigrané, nuancé, d’une ineffable rêverie attendrie du pianiste polonais captive par sa qualité affectueuse, juste, sincère. Du grand art.
La Fantaisie de Schumann - …Le pianiste en capte les silences porteurs de sens, les échos et vibrations d’une grâce liquide, immatérielle, qui dévoile et traverse espace et temps, .... …, le jeu de l’interprète affirme une belle compréhension de ce qu’est l’hypersensibilité schumanienne, capable d’accents rageurs, et de nuances nées dans l’ombre, surgissant d’un au-delà de la conscience et de la mémoire. Difficile de résister à cette éloquence de la pudeur jamais feinte.
Le Thème et Variations est totalement baigné en une tendresse des plus ardentes, volonté de réconciliation de directions multiples, éparses, simultanées. Anderszewski en exprime la candeur de l’émission, l’écoute interne aussi, sachant creuser les résonances immédiates, le jeu des énoncés et des réponses. …, le chant du pianiste qui vit la musique de l’intérieure. Remarquable.- Guillaume-Hugues Fernay – Full article

Concertonet.com 17/02/2017: Piotr Anderszewski at Carnegie Hall
Anderszewski approached the Mozart with energy and a clear eyed view which was admirable. He demonstrated in his approach a huge dynamic scale. There were numerous moments where the listener was swept by the power of the sound and energy;  …What I greatly admired was this pianists’ need to give the music proper breathing space, respite, and rest between the phrases: something too few pianists bother to implement.
Polonaise-Fantaisie - …At moments, it was a furious version, played in one–breath, relentless, rebellious; the next moment, as the score demands, would be dreamy, faraway, painted in pastels again with a magnificent, luminous sound. The last chord is placed sometimes too hastily: here under the fingers of the young master, after a very long pause, this final chord sounded tragic and resigned.
Bach’s English Suite No. 6 - … His clear, varied articulation, judicious though modest use of ornamentation and loving attention to detail makes him one of the most compelling players of that repertory. I felt much more comfortable listening to his Bach than Bach specialist Angela Hewitt, … - Roman Markowicz - Full article

Ndr.de 17/02/2017: Fantasien zweier Seelenverwandter
CD Mozart/Schumann – Fantasies von Piotr Anderszewski
Zwei Genies - Mozart und Schumann - treffen sich wie zu einem imaginierten Dialog am Flügel von Piotr Anderszewski. Eine Interpretation, die Spuren hinterlässt: Nachdenklich, ausdrucksstark und sehr persönlich. - Franziska von Busse - Full article

New York Times 4/03/2016: Noted Pianist Piotr Anderszewski Takes a Break From His Career
…, Mr. Anderszewski played magnificently, giving the kind of probing, intensely dramatic yet elegant performances we have come to expect from this essential artist.
Bach Partita No. 6 in E minor - …Mr. Anderszewski played the opening section of the Toccata, which unfolds like a somber fantasy, with articulate touch and rhythmic urgency; the fugue section that follows, for all its rigor, came across as daring and inexorable. He brought a touch of sly playfulness to the Allemande, and dispatched the syncopations in the snappy Courante with biting intensity. In the closing Gigue, with its leaping, jumpy fugue theme, Bach seemed to be anticipating pointillist contemporary styles.
Without pause, Mr. Anderszewski went right into the final work, Bach’s Partita No. 1 in B-flat, a beguiling and beautiful performance. Then, in a generous gesture, he played as an encore selections from Janacek’s “On an Overgrown Path,” lasting some 15 minutes. Responding to an enormous ovation, he played one more encore, a dreamy Schumann piece, appropriate for the occasion: “Abschied,” German for “farewell.” - Anthony Tommasini - Full article

The Guardian 11/02/2016: Enthralling interpretative integrity
Szymanowski’s Métopes - …,chronicling the distractions faced by Odysseus on his journey home from Troy, was played with a fierce clarity and lack of inhibition that in itself conferred intimacy. …
He released the resulting tensions by linking the Variations to the first Bach Partita without pause, despatching them with a smiling elegance that marked a final restoration of light and order at the end of a vast emotional journey that began with the Sixth Partita two hours previously, a performance that was miraculous in its combination of poetry and logic. …A staggering recital, every single second of it. - Tim Ashley -  Full article

Bachtrack.com 10/02/2016:A haunting sound world: Piotr Anderszewski 25th anniversary concert at Wigmore Hall
…This pianist is a fine advocate for Bach played on the piano, not just for these details, but also in his understanding of the harpsichordist’s treatment of phrasing and articulation. His sound is not dry: on the contrary, it is glossy and warm, and his tasteful pedalling and acute awareness of the rhythmic vitality of the dance music recalled the crystalline textures of the harpsichord. Anderszewski is also alert to the intimacy of Bach: the inner movements of both Partitas were tender and noble, with a muted dynamic range which had the whole audience listening intently. - Frances Wilson – Full article

www.limelightmagazine.com.au 6/08/2015: A marathon day of Bach brilliance, crowned by two astonishing Anderszewski performances.
…Of course the highlight of both programmes were the performances by Polish piano perfectionist Piotr Anderszewski, performing first the Overture in the French Style, BWV 831 and then the English Suite No. 6 in D minor, BWV 811. … If some pianists are like watercolours, melting diaphanously from harmony to harmony, and others are oils, dealing in bold daubs of sound, Anderszewski is like a quill and ink: clear, decisive and unequivocal in his commitment to the interpretation. …He carefully and sensitively unriddles the complexity of Bach’s dense counterpoint with an intense sincerity that borders on the severe at times, but he is able to also surrender to moments of heart-breaking fragility. This was most poignantly displayed in the Sarabandes of the English Suite, which were transfixingly profound in their meditative stillness. But perhaps the most remarkable thing about both these performances was the complete lack of ego from Anderszewski. The level of reverence and respect for this music is so palpable, we can almost see this performer’s heartfelt gratitude for every phrase and harmony. - Maxim Boon

www.crescendo-magazine.be 16/04/2015 : Piotr Anderszewski, danseur et architecte
J-S Bach -Suites anglaises N°1 BWV 806, N°3 BWV 808, N°5 BWV 810
Piotr Anderszewski nous livre de trois des Suites anglaises une version énergique, loin de toute sensualité. …, sa façon d’aborder les sarabandes, austère et méditative, est un modèle de clarté. Des sonorités anguleuses lui permettent de faire entrer chaque voix de façon limpide, comme une évidence, mettant en lumière les articulations rythmiques qui la sous-tendent. Et c’est là la grande qualité de ce disque : chaque suite, chaque mouvement, chaque phrase est construite avec une intelligence de la forme qui force le respect. Les admirateurs de Richter pourront y trouver leur compte. - Quentin Mourier

www.crescendo-magazine.be 31/03/2015:Piotr Anderszewski, Prince des pianistes
Suite anglaise n° 3 en sol mineur (BWV 808)- …, quelle stupéfiante variété de toucher, quelle extraordinaire palette sonore toujours utilisée à bon escient, et au service d’une interprétation aussi intelligente que sensible. L’enchantement agit tout au long de cette oeuvre longue et exigeante (on relèvera aussi la merveilleuse subtilité agogique et dynamique dont l’interprète fit preuve dans la Gavotte II de la Suite). Suite anglaise n° 6 en ré mineur (BWV 811): on pense à un Prélude joué avec une délicatesse digne de Kempff, à la pureté attique de son interprétation dans les mouvements lents et de son extraordinaire finesse dans la Gavotte II où la musique de Bach se rapproche tant de celle de Couperin.
Szymanowsky Métopes, op. 29, qu’il offrait au public bruxellois dans une merveilleuse interprétation qui se jouait des considérables difficultés de la partition pour mieux en rendre la sensualité et le parfum entêtant. Et s’il fallait une preuve supplémentaire des qualités d’imagination et de subtilité du pianiste, elle fut amplement donnée dans une interprétation profonde et prenante du rare Thème et variations en mi bémol majeur « Geistervariationen » de Schumann où -pour paraphraser le compositeur- on entendit le poète parler: son nom était Piotr Anderszewski. - Patrice Lieberman

www.concertonet.com 28/03/2015:A nul autre pareil
Chacun de ses récitals est une expérience singulière autant par son programme que par la personnalité de ce pianiste polonais avide de perfection….Autant dans l’austère Ouverture à la française, d’une durée de trente-cinq minutes, que dans la plus avenanteTroisième Suite anglaise, Anderszewski a joué avec une étonnante palette de sonorités et un sens du rythme infaillible, conférant à chacun de leurs mouvements son caractère de danse avec un goût et un instinct infaillibles.
…les trois Métopes de Szymanowski, on a pu apprécier ses qualités de sonorité et la sensualité qu’il fait passer dans cette musique d’une grande richesse harmonique. - Olivier Brunel

www.nytimes.com 20/03/2015: Piotr Anderszewski Goes for Dim Lights and Intimacy at Carnegie Hall
… We were invited to listen in the moment and let Mr. Anderszewski take us through this music.
His sensitive performances also fostered intimacy. Even the unusual choice and ordering of the program countered the typical notion of a concert pianist come to dazzle us. …In performing Bach’s French Overture on the piano, Mr. Anderszewski made full use of the modern instrument’s sustaining richness and capacity for shadings. Still, he often played rolled chords and scurrying passages with a slightly metallic gloss and textural lightness that intriguingly evoked the sound of the harpsichord. He brought infectious, rhythmic vitality to his playing in the dance movements. Does Mr. Anderszewski know how to dance a gavotte? He must.
Schumann’s Novelette in F sharp minor (Op, 21, No. 8) -… Mr. Anderszewski conveyed the music’s teeming Romanticism while also revealing internal Bachian complexities. His account of the Fantasy de-emphasized the monumental qualities of Schumann’s three-movement score to bring out its poetic, yearning explorations. Even the march movement was intricate and intimate. - Anthony Tommasini

www.miamiherald.com 14/03/2015: Pianist Anderszewski excels in Miami International Piano Festival recital
…Anderszewski brings a remarkably secure technique and keen musical intelligence to each work he plays. Every bar is precisely weighted, the tempos and phrasing of individual movements carefully interrelated. For Anderszewski, the score’s musical architecture is paramount. Nuances and stylistic niceties are elements of a broader interpretive statement.
Bach …Contrapuntal voices were brought forward, the lines exceptionally clear. Anderszewski was not afraid to play at extremes of volume, taking the big moments at full throttle while some quiet sections were unusually soft, all evenly controlled. The dance movements were infused with charm, the rhythms springy and vigorous. Anderszewski’s reading of the Sarabande was deeply poetic. While playing the solemn melodies at a measured pace, his touch was sensitive, the musical pulse flowing.
Bach’s English Suite - … Anderszewski offered a spirited reading replete with insightful details. …Again it was the Sarabande that stood out. Bringing gravitas to the melodic lines in the right hand, Anderszewski drew out the music’s austere textures.
…,his Schumann was revelatory. He offered a large-scaled, boldly romantic reading of the rarely played Novelette No. 8. There was stormy passion and power in the opening section, the huge mood swings deftly conveyed. Dance sections were incisively shaped and inflected with verve.

www.pizzicato.lu 9/02/2015: Anderszewski spielt Bach
Anderszewskis Interpretation der Englischen Suiten Nr. 1, 3 & 5 ist ein Musterbeispiel an uneigennütziger Reinheit. Doch wer glaubt, das Spiel des polnischen Pianisten würde sich nur auf technische Einzelheiten konzentrieren, liegt sicherlich falsch. Denn innerhalb seines klaren Gerüstes lässt Anderszewski Bachs Musik sehr frei und lebendig werden. Sie erreicht dabei eine wunderbare Leichtigkeit und beeindruckt immer wieder durch rhythmische Prägnanz, melodiöse Schönheit und ein schlankes, federndes Spiel. Die Ausschmückungen in den verschiedenen Sätzen bleiben der Musik und nicht dem Interpreten verbunden, die ausgedehnten Dimensionen dieser Englischen Suiten weiß Anderszewski ins rechte Licht zu rücken, so dass immer eine ideale Balance in Sachen organischem Wachsen, Dynamik und strukturellem Aufbau gewährleistet ist. - Alain Steffen

Gramophone Editor’s Choice recordings February 2015 : CD BACH English Suites Nos 1, 3 & 5
This is a glorious disc. Simply glorious. …And how Anderszewski can dance in a movement such as the Prelude of the Third Suite, urged into life through subtle dynamics, voicings, articulation and judicious ornamentation. A very different kind of dance reveals itself in the Gavotte II of the Third Suite, a musette in which he takes a more impish view than many, the sonorous drone effect contrasting delightfully with the tripping upper lines. The way he has considered the touch and dynamic of every phrase means that these are readings that constantly impress with fresh details each time you hear them. …Anderszewski’s CDs are all too infrequent, so let’s cherish this one. Harriet Smith

www.sinfinimusic.com/uk 9/01/2015: CD Bach English Suites
Anderszweski’s playing of these is pure delight, providing the keyboard equivalent of eavesdropping on a vivacious, witty and amiable discussion between two articulate, opinionated friends. His joyful spontaneity and precise, even balancing of voices is achieved with a light touch and a broad, subtle tonal palette (in the Sarabande of No.3, Anderszewski somehow manages to evoke the sonority of a harpsichord) with dynamics that rarely stray above forte. This is distinguished Bach playing by any standards. - Jeremy Nicholas

www.klassiekezaken.nl Januari 2015: CD Bach Engelse Suites
…Bach spelen op de piano gaat over suggestie en verbeelding.’ En dat is precies wat Anderszewski doet. Hij orkestreert de allemandes, courantes, sarabandes, bourrées en meer en ondertussen legt hij feilloos de meerstemmige structuren bloot en speelt hij niet alleen de sarabandes, maar ook de andere delen met een haast rapsodische vrijheid, waardoor deze Engelse suites pure poëzie worden. Een must voor alle Bach- en pianoliefhebbers. - Paul Janssen

www.theguardian.co.uk 20/11/2014Bach: English Suites, 1, 3 and 5
…This collectionof the odd-numbered ones is well worth the wait, and perfectly conveys the strengths and special qualities of his Bach playing. There’s both carefully focused energy and reflective poise here; wonderful transparency in the contrapuntal movements like the opening preludes and closing gigues; a crystalline purity of line in the sarabandes; rhythmic exuberance in the dance movements; and always the real sense of intellectual curiosity about the way in which Bach rethinks and reinvents the musical forms in each work. Anderszewski manages to be punctiliously stylish without ever becoming precious, refreshingly matter-of-fact without being routine. - Andrew Clements

www.lesoir.be 19/11/2014 : CD Bach English Suites 1, 3 and 5
Trois Suites anglaises (1,3 et 5) d'une éblouissante imagination. Ici, la danse règne en maître : imprévisible, véloce, loquace. L'agencement des mouvements semble répondre à une dramaturgie secrète dont on admire la versatilité sans pouvoir en ausculter les ressorts. Le plaisir est total, impérieux et immédiat, avec un sens du chant qui explose parfois comme un air d'opéra, avec des moments d'un cantabile ineffable. Visiblement, le pianiste s'amuse et, pour cela, nous passionne. Un Bach qui va jusque'au bout des ressources de l'instrument. - Serge Martin

www.classicfm.com 17/11/2014:  CD J.S. Bach: English Suites Nos. 1, 3 and 5
… These are distinctly individual performances, which, while played with dazzling accuracy, take Bach’s familiar originals and turn them into richly resonant, at times even impressionistic and dramatic, piano pieces in their own right.

www.theguardian.com 12/02/2014: Fabulously lucid … Piotr Anderszewski
Whether in Beethoven, Bach or Schumann, Anderszewski displayed spontaneity while capturing the nuances of meaning. …Like all his playing, his Schumann has the wonderful knack of sounding utterly fresh and spontaneous, while at the same time conveying the sense that every detail in it is there for a specific musical reason. The Novellette was flanked by two other composers who are staples of Anderszewski's programmes. He had opened with Bach, the Overture in the French Style BWV831, each movement buoyant and crystal clear, the rhythms athletic, the changes of colour, such as when the music switches to B major for the second Passepied, magical. This huge, almost 40-minute work, seemed to pass in moments.
Beethoven Bagatelles Op 126- ..Every time he plays it, his performance seems even more coherent, more perfect; it's an exceptional experience. - Andrew Clements

 

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