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The English Suites featured prominently in Anderszewski’s concert schedule for 2012/13, and more recently in his acclaimed 2014 Edinburgh Festival recital. His performance at Carnegie Hall prompted the New York Times to observe that “his Bach recital was characterised 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.”

The pianist has said that he always keeps 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.”