Bach, JS: English Suites Nos 1, 3 & 5 Piotr Anderszewski

• 1 Bach, JS: English Suite No. 3 in G Minor, BWV 808: I. Pr?lude 03:14
• 2 Bach, JS: English Suite No. 3 in G Minor, BWV 808: II. Allemande 03:13
• 3 Bach, JS: English Suite No. 3 in G Minor, BWV 808: III. Courante 02:02
• 4 Bach, JS: English Suite No. 3 in G Minor, BWV 808: IV. Sarabande 03:46
• 5 Bach, JS: English Suite No. 3 in G Minor, BWV 808: V. Les agrements de la m?me Sarabande 04:44
• 6 Bach, JS: English Suite No. 3 in G Minor, BWV 808: VI. Gavotte alternativement 01:41
• 7 Bach, JS: English Suite No. 3 in G Minor, BWV 808: VII. Gavotte II ou la Musette 01:45
• 8 Bach, JS: English Suite No. 3 in G Minor, BWV 808: VIII. Gigue 02:42
• 9 Bach, JS: English Suite No. 1 in A Major, BWV 806: I. Pr?lude 02:27
• 10 Bach, JS: English Suite No. 1 in A Major, BWV 806: II. Allemande 03:58
• 11 Bach, JS: English Suite No. 1 in A Major, BWV 806: III. Courante I 01:28
• 12 Bach, JS: English Suite No. 1 in A Major, BWV 806: IV. Courante II 01:35
• 13 Bach, JS: English Suite No. 1 in A Major, BWV 806: V. Courante precedent avec basse simple 02:13
• 14 Bach, JS: English Suite No. 1 in A Major, BWV 806: VI. Sarabande 04:41
• 15 Bach, JS: English Suite No. 1 in A Major, BWV 806: VII. Bourr?e I 01:55
• 16 Bach, JS: English Suite No. 1 in A Major, BWV 806: VIII. Bourr?e II 02:25
• 17 Bach, JS: English Suite No. 1 in A Major, BWV 806: IX. Gigue 02:30
• 18 Bach, JS: English Suite No. 5 in E Minor, BWV 810: I. Pr?lude 04:53
• 19 Bach, JS: English Suite No. 5 in E Minor, BWV 810: II. Allemande 03:31
• 20 Bach, JS: English Suite No. 5 in E Minor, BWV 810: III. Courante 02:12
• 21 Bach, JS: English Suite No. 5 in E Minor, BWV 810: IV. Sarabande 03:57
• 22 Bach, JS: English Suite No. 5 in E Minor, BWV 810: V. Passepied I en Rondeau 01:06
• 23 Bach, JS: English Suite No. 5 in E Minor, BWV 810: VI. Passepied II 02:02
• 24 Bach, JS: English Suite No. 5 in E Minor, BWV 810: VII. Gigue 02:47
• Total Runtime 01:06:47

Info zu Bach, JS: English Suites Nos 1, 3 & 5

“The wonderful thing is that the modern piano can suggest so many instruments…Playing Bach on the piano, it’s really all about suggestion,” says Piotr Anderszewski. More than 10 years since the release of his first recording of Bach’s English Suites, these interpretations of Suites 1, 3 and 5 join the Warner Classics catalogue. Anderszewski’s concert performances of Bach in 2013 prompted the New York Times to write: “He revels in the full range of timbres afforded by the modern piano”, while The Guardian cited “some of the most sublime piano playing London has witnessed all season”.

With this recording, Piotr Anderszewski returns to Bach’s English Suites after more than 10 years. In 2002, when Virgin Classics (now Warner Classics/Erato) released his interpretations of Suites 1, 3 and 6, The Sunday Times spoke of “Bach playing of the highest order,” enthusing that: “His playing throughout is wonderful, laying out Bach’s contrapuntal writing with a clarity and subtlety of touch that removes these works far from the realms of technical exercises. His fingers dance in the Courantes and Allemandes, and positively sing the melodies of the sublime Sarabandes.”

Anderszewski himself has said that: “I always keep in mind that the harpsichord was the most popular keyboard instrument [in Bach’s time]. But I would really not like to try and imitate the harpsichord—in that case, I would rather play the harpsichord! So, bearing in mind the limitations of the harpsichord, but still using the really full expression of the modern concert piano—this is the paradox. The wonderful thing is that the modern piano can suggest so many instruments. It can suggest the voice, the orchestra, even percussion instruments. It can also suggest the harpsichord. Playing Bach on the piano, it’s really all about suggestion.”

The English Suites featured prominently in Anderszewski’s concert schedule for 2012/13. His performance at Carnegie Hall prompted the New York Times to observe that “his Bach recital was characterized by unabashedly personal interpretations that he delivered with persuasive intensity ... He revels in the full range of timbres afforded by the modern piano and often uses the sustaining pedal to allow notes to pool together like watercolors...Mr. Anderszewski’s interest seems to lie less in the structure of Bach’s counterpoint than in the individual moments of drama it affords. That the results are never indulgent is due above all to his deep musicality and psychologically astute instinct ... Any pianist can bring out the playfulness of the second Gavotte in the English Suite No. 3, but Mr. Anderszewski added a layer of hushed melancholy that suggested the playfulness of one accustomed to being alone. Each movement was vividly drawn. There was a shy Courante, a bustling Sarabande, a haltingly curious Gavotte, a sociable and chatty Prelude. The Sarabande of the English Suite No. 3 began with a succession of chords that evoked proud Spanish guitars but then gradually darkened, ending on a note of bitter loneliness.”

After his Spring 2013 concert at London’s Southbank Centre, The Guardian spoke of “some of the most sublime piano playing London has witnessed all season. Anderszewski's manner reflects the intensity of his relationship with each note and phrase. He appears less to perform existing repertoire than rebuild each piece from scratch, holding everything spontaneously in balance ... His physical relationship with the piano...yields a control over tone and structure, touch and phrasing, which few pianists can equal.”

La Tribune de Genève, meanwhile, waxed lyrical: “Piotr Anderszewski is in contact with other worlds, because he searches for each note in the depth of his own world. The voices that traverse it and that he evokes cannot be ignored. They are not there to charm, but to perturb...they surprise and shake us. They make us marvel, overwhelm us...Bach’s voice sings everywhere, in every finger. It is an outpouring of song, an endless discussion between voices that call to each other, answer each other and contradict each other, each with its own timbre, character, articulation and rhythm...The whole vibrates with a supernatural light and resonates like a choir or an orchestra.”

Piotr Anderszewski, piano

Piotr Anderszewski
is regarded as one of the outstanding musicians of his generation. In recent seasons he has given recitals at London's Barbican Centre and Royal Festival Hall, the Wiener Konzerthaus, Carnegie Hall New York and the Mariinsky Concert Hall in St Petersburg. His collaborations with orchestra have included appearances with the Berlin Philharmonic, the Chicago and London Symphony orchestras, the Philadelphia Orchestra and the Orchestra of the Royal Concertgebouw. He has also given many performances directing from the keyboard, with orchestras such as the Scottish Chamber Orchestra, Sinfonia Varsovia and Deutsche Kammerphilharmonie Bremen.

Piotr Anderszewski has been an exclusive artist with Warner Classics/Erato (previously Virgin Classics) since 2000. His first recording for the label was Beethoven's Diabelli Variations, which went on to receive a number of prizes including a Choc du Monde de la Musique and an ECHO Klassik award. He has also recorded a Grammy-nominated CD of Bach's Partitas 1, 3 and 6 and a critically-acclaimed disc of works by Chopin. His affinity with the music of his compatriot Szymanowski is captured in a highly-praised recording of the composer's solo piano works, which received the Classic FM Gramophone Award in 2006 for best instrumental disc. His most recent recording devoted to solo works by Robert Schumann received an ECHO Klassik award in 2011 and two BBC Music Magazine awards in 2012, including Recording of the Year.

Recognised for the intensity and originality of his interpretations, Piotr Anderszewski has been singled out for several high profile awards throughout his career, including the prestigious Gilmore award, given every four years to a pianist of exceptional talent.

He has also been the subject of two award-winning documentaries by the film maker Bruno Monsaingeon for ARTE. The first of these, Piotr Anderszewski plays the Diabelli Variations (2001) explores Anderszewski's particular relationship with Beethoven's opus 120, whilst the second, Piotr Anderszewski, Unquiet Traveller (2008) is an unusual artist portrait, capturing Anderszewski's reflections on music, performance and his Polish-Hungarian roots. A third film by Monsaingeon, Anderszewski Plays Schumann was made for Polish Television and first broadcast in 2010.

In the 2014-15 season Anderszewski can be heard in recital at the Wiener Konzerthaus, the Concertgebouw Amsterdam and New York's Carnegie Hall. His orchestral engagements include appearances with the London Symphony Orchestra, the NHK Symphony Orchestra and the Wiener Symphoniker, as well as three appearances in Bamberg as part of a residency with the Bamberg Symphony Orchestra. Additional highlights include a series of recitals with the baritone Matthias Goerne in Vienna, Berlin and London.

Booklet für Bach, JS: English Suites Nos 1, 3 & 5