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Bach: English Suite No 6 in D minor BWV 811
Beethoven: Piano Sonata No 31 in A flat major, Op 110 Webern: Variations Op 27 |
Bach: English Suite No 6 in D minor BWV 811
Beethoven: Piano Sonata No 31 in A flat major, Op 110
Webern: Variations Op 27
Beethoven: Piano Sonata No 31 in A flat major, Op 110
Webern: Variations Op 27
Sample these clips :
> Bach English Suite No 6 in D minor - Gigue
> Webern Variations Op 27 - II: Sehr Schnell
> Bach English Suite No 6 in D minor - Gigue
> Webern Variations Op 27 - II: Sehr Schnell
Alex Ross: The Rest is Noise (Sep. 2004)
Equal mastery in the Baroque, the Classical-Romantic, and the atonal modern. Everything sings.
Equal mastery in the Baroque, the Classical-Romantic, and the atonal modern. Everything sings.
BBC Music Magazine (Jan. 1997)
His performance of the [Webern Variations] has an intensity and a sense of shape I have never heard equalled. He plays the outer movements, especially, as if they really mean something. The music speaks.
Nor is Anderszewski inhibited by academic priggishness surrounding JS Bach, whose music he treats as a living thing. He sometimes connects cadences with repeated sections by means of discreet flourishes, and in the second Gavotte, he puts the right hand up one octave for variety. Above all, he clearly enjoys himself, bringing tremendous momentum to the Prelude, subtle inflections to the Allemande, opening up his tone excitingly in the repeat of the Sarabande, and delivering the Gigue with a sweeping sense of line.
Even more impressive, if it's possible, is his imaginative vision in Beethoven's penultimate sonata. In the Adagio he commands a luminous resonance, almost dissolving attacks, while he brings electrifying dynamic contrasts and perfect rhythmic control to the second movement. The opening movement is rapt and gently radiant and, in the last, Anderszewski achieves an ineffable sense of growth and fruition.
His performance of the [Webern Variations] has an intensity and a sense of shape I have never heard equalled. He plays the outer movements, especially, as if they really mean something. The music speaks.
Nor is Anderszewski inhibited by academic priggishness surrounding JS Bach, whose music he treats as a living thing. He sometimes connects cadences with repeated sections by means of discreet flourishes, and in the second Gavotte, he puts the right hand up one octave for variety. Above all, he clearly enjoys himself, bringing tremendous momentum to the Prelude, subtle inflections to the Allemande, opening up his tone excitingly in the repeat of the Sarabande, and delivering the Gigue with a sweeping sense of line.
Even more impressive, if it's possible, is his imaginative vision in Beethoven's penultimate sonata. In the Adagio he commands a luminous resonance, almost dissolving attacks, while he brings electrifying dynamic contrasts and perfect rhythmic control to the second movement. The opening movement is rapt and gently radiant and, in the last, Anderszewski achieves an ineffable sense of growth and fruition.
The Guardian (June 2004)
This is a superlative recital disc, further confirmation that Anderszewski is one of the very finest pianists of the present day. Each work here offers a different facet of his interpretative art - inexhaustible rhythmic imagination and technical clarity in the Bach Suite, exquisite poetry matched to wonderful awareness of texture and tone colour in Beethoven's Op 110... and a fierce intellectual rigour combined with sovereign muscular command in the Webern Variations.
Andrew Clements
This is a superlative recital disc, further confirmation that Anderszewski is one of the very finest pianists of the present day. Each work here offers a different facet of his interpretative art - inexhaustible rhythmic imagination and technical clarity in the Bach Suite, exquisite poetry matched to wonderful awareness of texture and tone colour in Beethoven's Op 110... and a fierce intellectual rigour combined with sovereign muscular command in the Webern Variations.
Andrew Clements