Piotr Anderszewski: Piotr Anderszewski at Carnegie Hall

Live commercial recordings of piano recitals have always been rare, usually reserved for the celebrated names of the keyboard: Rubinstein, Richter, Horowitz, Gilels.

This one, given by one of today's least-hyped but most enlightening pianists just less than a year ago, was clearly a special occasion, one that vouchsafes Anderszewski's reputation as both a formidable technician and an interpreter of outstanding musical taste and insight.

The programme is as intriguing as it is various: Bach's Partita No 2 in C minor, followed by Schumann's Faschingsschwank aus Wien (Carnival Jest from Vienna), Janacek's 1912 In the Mists (his last work for solo piano) and Beethoven's Sonata in A flat major, Op 110.

The writer of the booklet makes no attempt to find a thread linking these works, but Anderszewski seems concerned to show how the Bach, Schumann and Janacek sequences of piano pieces could be heard as virtual sonatas, while the Beethoven sonata stretches the form to embrace a backward glance at the Bachian suite. Anderszewski's Bach is brilliantly articulated, with bracing tempi for the fast movements and a deeply felt inward reverence for the beautiful Sarabande. In Schumann's Carnival Jest, Anderszewski's glittering technique is never merely showy, but always in the service of the yearning core of the music. Late Janacek and Beethoven might seem odd bedfellows, but not in Anderszewski's masterly hands.