Press

• Solo Recital: Beethoven, Brahms, Bartok and Bach

  The Barbican

  Oct 2024

  • ★ ★ ★ ★ ★ This programme made largely of miniatures was one to treasure. Anderszewski is a remarkable pianist – no note is out of place, no chord not perfectly balanced ... even by Anderszewski’s meticulous standards it was an exceptional event. Anderszewski’s ability to crystallise a whole expressive world in microcosm was extraordinary The 14 Bartók Bagatelles ... were presented as vivid snapshots, glistening and utterly clear. The Chopin mazurka that followed as an encore, Op 59 no 2, might have belonged to another world altogether, yet in its own way it was just as remarkable.

    • Andrew Clements, The Guardian
    • 04 October 2024

• Solo Recital in Singapore

  Victoria Concert Hall

  May 2024

  • Polish pianist Piotr Anderszewski has always been held in high esteem by connoisseurs for the piercing intelligence of his musicianship and the sensitivity of his playing. On the evidence of this re-cital, his extraordinary talents remain as strong as ever. It was clear from the outset that this recital was about the music, not the performer. All in all, a marvellous, moving recital from one of the world's most quietly brilliant performers.

    • Geoffrey Lim, The Straits Times (Singapore)
    • 04 May 2024

• Solo Recital

  Barbican

  Nov 2023

  • Performing his usual suspects of Bach, Szymanowski, Webern and Beethoven, he exhibited total control over and feel for the programme. He has previously recorded almost all of these works, and visibly knows them like the backs of his – very competent – hands. Anderszewski is completely in the moment and alive to every nuance in each piece, creating an electrifying evening.

    • Susannah Moody, bachtrack
    • 06 November 2023

• Solo Recital

  Barbican

  Nov 2023

  • ★★★★☆ The Polish pianist is an understated presence but in his hands, a programme that also included Bach, Webern and Szymanowski, was muscular and full of ferocious energy amid meticulous playing.

    • Flora Willson, The Guardian
    • 03 November 2023

• Bartók - City of Birmingham Symphony Orchestra

  Symphony Hall Birmingham

  Mar 2020

  • Anderszewski declaimed his opening melody as if improvising; the movement that followed was a thing of clear edges, bold primary colours and a Mozartian sense of proportion, vividly articulated by a particularly plangent-sounding woodwind section and Anderszewski’s way of admitting just the tiniest suggestion of a lift at the end of a phrase. In the Adagio religioso, too, Wellber gently teased out the texture of the opening string chorale – so often played at a breathless, homogenous whisper, but here very much alive and moving, with the cellos and basses softly tugging the music forward. The stillness that surrounded Anderszewski’s responses was all the more profound because of it: he placed lucid, luminous chords directly into the silence as if he was setting jewels into snow.

    • Richard Bratby, The Arts Desk
    • 11 March 2020

• Haydn / Schumann - Scottish Chamber Orchestra

  Queen's Hall Edinburgh

  Oct 2019

  • ...Anderszewski’s mellifluous playing ran through the texture like a band of gold.

    • Simon Thompson, The Times
    • 26 October 2019

• Haydn / Schumann - Scottish Chamber Orchestra

  Queen's Hall Edinburgh

  Oct 2019

  • Anderszewski masterminded two keyboard concertos: Haydn’s chirpy Concerto in D, written with all the nimble delicacy befitting its intended execution on fortepiano or harpsichord; and the sweeping Romantic brushstrokes of Schumann’s Piano Concerto in A minor

    • Kev Walton, The Scotsman
    • 29 October 2019

• Solo Recital

  Muziekgebouw Amsterdam

  Jan 2024

  • Zijn Bach is authentiek in de ware zin des woords, vormgegeven vanuit de weerklank die Bachs noten vinden in zijn eigen ziel, meer romantisch dan barok, meer zingend dan hamerend, fenomenaal in zijn heldere stemvoering, ontroerend door de expressieve en zangerige klank van de elegant in elkaar overvloeiende frases. ‘His Bach is authentic in the true sense of the word, designed from the resonance that Bach's notes find in his own soul, more romantic than baroque, more singing than hammering, phenomenal in his clear voicing, moving by the expressive and lilting sound of the elegantly flowing phrases.’ Anderszewski zette Bachs geniale noten uiteen in monumentale overpeinzingen en levendige dansbewegingen, waaraan hij door het natuurlijke verloop van zijn rubato en het aanbrengen van subtiele dynamische schakeringen een fascinerende dieptewerking verleende. ‘Anderszewski expounded Bach's brilliant notes in monumental reflections and lively dance movements, to which he added fascinating depth through the natural progression of his rubato and the application of subtle dynamic shades.’ Het metafysische verlangen naar het ontsluiten van nieuwe muzikale horizonnen maakt ook Anderszewski, om Monsaingeon te citeren, tot ‘een van de boeiendste musici van deze tijd. '‘The metaphysical desire to open up new musical horizons also makes Anderszewski, to quote Monsaingeon, 'one of the most fascinating musicians of our time'.’

    • Wenneke Savenije, De Nieuwe Muze
    • 22 January 2024