Piotr Anderszewski has been compared more than once with the legendary Sviatoslav Richter. Anderszewski, a regular guest with the Berliner Philharmoniker, is considered “one of the most individual and absorbing pianists of our time” (The Sunday Times).
Partita No. 6 in E minor BWV 830
Papillons op. 2
Métopes (Metopes) op. 29
Variations on an original theme in E flat major Geistervariationen
Partita No. 1 in B flat major BWV 825
Chamber Music Hall
Introduction: 7:00 pm
Piotr Anderszewski has been compared with the legendary Sviatoslav Richter more than once – the Frankfurter Rundschau, for instance, attested that he has Richter’s “intuition for the almost unbelievable elasticity of time, for nuances and ostensibly secondary voices that are otherwise scarcely audible”. In this context, Anderszewski, who is a regular guest with the Berliner Philharmoniker, is considered “one of the most individual and absorbing pianists of our time” (The Sunday Times).
For his recital this year, the Polish master pianist has programmed music by his fellow countryman Karol Szymanowski: the three-part cycle Métopes, inspired during a stay in Italy by the ancient Homeric Odyssey, and which musically combines the sound language of Debussy, Ravel and Scriabin. According to the pianist, the challenge for Szymanowski was to find the common thread, the line which takes the listener from the first to the last note. Anderszewski contrasts the expressive music of the Polish composer with two Romantic works by Robert Schumann; the piano cycle Papillons, which with short aphoristic pieces traces the maelstrom of dance on carnival night, and the so-called “Ghost Variations”, the last work by the composer before he was admitted to the Endenich mental hospital..
The evening will conclude with Johann Sebastian Bach’s highly virtuoso Partitas in B-flat major BWV 825 and E minor BWV 830; the composer provided them with the misleading title “Clavir-Übung” [keyboard exercise]. Already in 1731, the music theorist Johann Mattheson remarked: “Whosoever has the audacity to play them well at first sight must proceed very boldly […] even if he be a great master of the harpsichord.”