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Queen Elizabeth Hall, London - The Guardian
Friday 14 December 2007

Piotr Anderszewski's reputation as his own sternest critic hasn't diminished over the years. Whatever led him to walk out of the semifinals at the Leeds Piano Competition in 1990 (apparently, he didn't think he was playing well enough) resurfaced at the end of this recital, when he announced that instead of an encore he was going to play again the whole of the work with which he had started: Bach's Partita No 2, in C minor.

Those with trains to catch drifted away, but the overwhelming majority of the audience stayed, and were rewarded with a performance that was more assertive, highly characterised and rhythmically stable than the earlier one, when Anderszewski had perhaps, by his own exalted standards, taken a while to settle into his best form.

Just before the repeat, he had played more Bach, the first partita in B flat; that same expressive flexibility, exceptional left-hand mobility and eloquence were combined with a grasp of every musical detail. Heard unexpectedly back-to-back, the two partitas became an object lesson in how Bach may be reinvented on a modern piano.

He also gave us works by two of his specialities, Szymanowski and Schumann. The three Masques represent Szymanowski at his most eclectically modernist (...) Anderszewski's imaginative grasp in these character sketches was consummate, just as his absorption into the introspective world of Schumann's Humoresque was judged to perfection.
Source: The Guardian
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