Piotr Anderszewski
- Piotr Anderszewski Klavier
Programme
- Johannes Brahms
Intermezzo h-moll op. 119/1 (1892)
Intermezzo C-Dur op. 119/3 (1892)
Intermezzo a-moll op. 118/1 (1892)
Intermezzo A-Dur op. 118/2 (1892)
Intermezzo a-moll op. 116/2 (1892)
Capriccio g-moll op. 116/3 (1892)
Intermezzo E-Dur op. 116/4 (1892)
Intermezzo e-moll op. 116/5 (1892)
Intermezzo op. 117/3 (1892)
Rhapsodie Es-Dur op. 119/4 (1893)
Intermezzo op. 117/2 (1892)
Intermezzo es-moll op. 118/6 (1892)
Intermission
- Ludwig van Beethoven
Sonate c-moll op. 111 (1821–1822)
- Piotr Anderszewski Klavier
Programme
- Johannes Brahms
Intermezzo h-moll op. 119/1 (1892)
Intermezzo C-Dur op. 119/3 (1892)
Intermezzo a-moll op. 118/1 (1892)
Intermezzo A-Dur op. 118/2 (1892)
Intermezzo a-moll op. 116/2 (1892)
Capriccio g-moll op. 116/3 (1892)
Intermezzo E-Dur op. 116/4 (1892)
Intermezzo e-moll op. 116/5 (1892)
Intermezzo op. 117/3 (1892)
Rhapsodie Es-Dur op. 119/4 (1893)
Intermezzo op. 117/2 (1892)
Intermezzo es-moll op. 118/6 (1892)
Intermission
- Ludwig van Beethoven
Sonate c-moll op. 111 (1821–1822)
Musical depth of field
Two of the great »B« in music history, Brahms and Beethoven, are featured in master pianist Anderszewski’s repertoire: Piotr Anderszewski, a specialist in musical depth, has devoted his latest project to the late works of Johannes Brahms and has even recorded them on CD.
Anderszewski plays Brahms …
With extraordinary lyrical depth, he brings to life the intermezzi, fantasies and piano pieces from the final years of Brahms’s life – though often lasting only a few minutes, they convey a sense of intimacy and longing, and at times seem like sombre reveries.
… and Beethoven
Alongside this, Anderszewski – a great connoisseur of Beethoven – presents the Bonn composer’s final piano sonata. This, as Edwin Fischer once put it, symbolises this world and the hereafter; Alfred Brendel, for his part, saw in it a »prelude to silence«. For the award-winning Anderszewski, the guiding principle is: »For me, the most important thing about an interpretation is that it is personal – it is personal when you sit in the concert hall and have the impression that the work is being composed right in front of you. It is not I, but Beethoven himself who is bringing it forth at this very moment.«
