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Reviews PIOTR ANDERZSWESKI
 

The Guardian 12/04/2018: Diabelli Variations are a totally enthralling musical journey
Beethoven had been the main work in Anderszewski’s Leeds programme, and a decade later, his recording of it was widely hailed as the finest to appear in many years. That interpretation has clearly lost none of its freshness and vivid commitment over the subsequent decade and a half. As the second part of Anderszewski’s Barbican recital it was an astonishing performance, perhaps the most completely convincing reading of the Diabelli I’ve ever heard in the concert hall. …. Every one of the 33 variations seemed freshly imagined, with their dizzying contrasts of wit and pathos, explosive energy and communing stillness; it made for a totally enthralling musical journey in which not a single step was misplaced.
…. The first half of his recital had been devoted to Bach, with 3 preludes and fugues from the 2nd book of the Well-Tempered Clavier, followed by the 3rd of the English Suites. That was equally extraordinary in its own way, with a Glenn Gould-like clarity to the textures and rhythmic articulation, informed by a freewheeling imagination that was never wilful. Anderszewski certainly brought his own ideas to the music, but whether in the stream of melodic invention that courses through the C major Prelude, the quiet intensity with which he invested the opening of D sharp minor Fugue, or the spiky, Scarlatti-like exuberance of the pair of gavottes in the suite, they never seemed anything other than quintessential Bach. Andrew Clements - Review in full

Smh.com.au 19/03/2018 : CD Mozart Pianoconcertos 25 & 27
Concerto nr 27, K 595B flat major, the intimacy between soloist and orchestra is revelatory. The glorious slow movement, luminously beautiful but achingly painful – music I may ask to have played at my funeral – here achieves a rapt and profound intensity. Finding something new to say in works so often recorded is hard, and Anderszewski is far from the first to have such insights, but they are compelling and persuasive. Barney Zwartz  - Review in full

Klassieke Zaken 17/03/2018 : CD Mozart Concerto 25 & 27
Piotr Anderszewski wijdt zich hier in de dubbelrol van pianist en dirigent aan twee late concerten van Mozart. …. Het spel is van de eerste tot de laatste noot glashelder, maar in de lucide toon en transparante klank weet hij vaak een intrigerende ambiguïteit te suggereren. Het Concert in C (nr. 25) straalt als de zon licht en warmte uit, maar het briljante vertoon van humor en sprankelende elegantie krijgt hier en daar een donker randje, zeker ook in de door Anderszewski zelf gecomponeerde cadens. Een dergelijke gelaagdheid treft nog meer in Mozarts laatste pianoconcert (nr. 27), wanneer serene en melancholieke sferen de heldere kleuren verdiepen. Eddie Vetter - Volledig artikel

Concertonet 6/03/2018 : Piotr Anderszewski & NDR Elbphilharmonie Orchester & Thomas Hengelbrock
Mozart: Concerto pour piano n° 24, K. 491 - Le Mozart joué par Piotr Anderszewski a toujours été loin d’être classique, si l’on entend par cet adjectif une composition de style galant. Dans ce concerto en ut mineur, cela va plus loin que de simples épisodes nuageux: on y perçoit plutôt, toujours sous-jacente, une menace invisible qui parfois déchire la surface tranquille de la partition. Ainsi, le tempo du premier mouvement, posé et proche d’un certain statisme, recèle intrinsèquement une violence sourde; on entre dans une autre dimension à l’entame du développement, qui retient la musique et la murmure à l’oreille du public; la cadence, écrite par le pianiste polonais, libère tout à coup cette tension longuement accumulée, juxtaposant des traits abrupts à la manière d’une fantaisie. Même coups d’éclat dans le Larghetto, où le thème tout d’abord en apesanteur se densifie soudainement. Le finale, qui enchaîne de manière infernale les répétitions thématiques, se clôt sur une série de crescendos glaçants de violence. La transcendance technique, autorisant Piotr Anderszewski à choisir un timbre précis indépendamment de la palette dynamique, est mise au service d’une vision très opératique de l’œuvre où le soliste n’est qu’une voix parmi celles de l’orchestre. Dimitri Finker - Article

Kulturradio.de 26/2/2018 CD Der Woche : "Mozart: Klavierkonzerte Nr. 25 und 27"
….Nach fast drei Minuten erscheint die Hauptperson. Gespielt, ja, bei Piotr Anderszewski regelrecht gesungen - vom Klavier.  Sein Spiel ist äußerst präzise, dabei spannungsreich und ausdrucksstark. Die Solokadenz gegen Ende des ersten Satzes klingt bei ihm wie eine Arie. Eine Arie, die die verschiedenen Stimmungen und Themen noch einmal aufwirft, aus neuer Perspektive betrachtet, als wolle sie ein Fazit ziehen.  Antje Bonhage - Kritik

Bachtrack 16/02/2018 : Piotr Anderszewski &  Philharmonia Orchestra/ Jakub Hrůša
Beethoven’s Piano Concerto no. 1 in C major  - ….The soloist in the concerto was Piotr Anderszewski, who has made a much-praised recording, on which he also conducted. … In his hands the concerto came across as the work of a young man revelling in his own powers of invention, which is just what it is. It was always kept in scale, with little of the defiant rhetoric we associate with the composer’s middle period. Indeed Jakub Hrůša’s steady direction of the opening tutti might at times have made a bit more of its Allegro con brio marking, but the orchestral playing was certainly alert, and Anderszewski responded to it in chamber musical fashion. His delicate touch and lyrical poise in the Largo were outstanding, giving the movement a singular grace. The Rondo finale was a true Allegro scherzando, each episode making its mark through the soloist’s impeccable phrasing and crisp articulation, even in the crossed-hands passage. Roy Westbrook -  Review in full

Gramophone 1/02/2018 : CD Mozart Piano Concertos K503 and K595
…His recordings keep on getting better and better, too - having anyway started out at a rey by flute and violins, exquisitely done here. You may be getting the impression that I rather like this record. I wouldn't (couldn't) go without recordings by other longtime favourite pianists (two of whom are invoked above); but then, Anderszewski is a favourite pianist too, and his coupling joins theirs without fear of compromise. David Threasher -  Review in full

Nrc.nl 24/01/2018 : De waterheldere klank van Anderszewski
Het musiceren van de Poolse pianist Piotr Anderszewski doet wat denken aan beeldhouwen. Zoals Michelangelo de beelden uit het steen ‘bevrijdde’, zo maakt Anderszewski de noten los van de partituur. Zijn spel herbergt iets van de warme en mysterieuze glans van marmer. Met Anderszewski ook als dirigent vanachter de vleugel ontstaan er biologerende gesprekken tussen de piano en het orkest. Want beiden praten meer dan dat ze zingen, in de zin dat er geen noot onder tafel verdwijnt. In Anderszewski’s eigen cadens in Pianoconcert nr. 25 verschijnt plotseling de schaduw van Chopin ten tonele, een flard die herinnert aan diens Préludes. Een anachronisme dat past in een werk dat muzikaal al vooruit wees, … In alles – ook in de melancholie van Mozarts laatste pianoconcert – regeert de waterheldere klank van Anderszewski.  Joost Galema - Artikel

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 - Review in full

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

 

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