I understand Mozart piano concertos as chamber works. The piano, orchestra, and individual instruments engage with each other, dialoguing continuously. At the same time, these are hidden operas: the musical themes, motives interact, unfolding their stories, each with their own voice and distinctive character. Mozart is the composer of ambiguity par excellence - the most luminous moments can be interwoven with such darkness. Where is the light, where is the shadow? Sometimes, I don't really know. And yet this is music of such evident limpidity. It is a miracle. - Piotr Anderszewski
The Gramophone (Feb 2018)
I wonder if Piotr Anderszewski has it in mind to record all of Mozart's major piano concertos. This is his third such coupling [...]. His recordings keep on getting better and better, too having anyway started out at a remarkable standard so Mozartians may well be in for decades of treats to come, however piecemeal we are fed them.
The Times (Jan 2018)
It is the intimacy of [Anderszewski's] rapport with the (sadly uncredited) wind soloists of the COE that makes this issue so special. His pristine finger work is always at the service of the score in continuous dialogue with the orchestral musicians, but he brings personal touches to these frequently recorded pieces. [...] One listens with refreshed ears to this familiar music.
(Album of the week)