A review of my New York performance of Mozart’s E-flat Quartet, K. 493.
“What made Solzhenitsyn’s playing of this difficult piano part truly exceptional was his consummate timing from the very first notes, his crystal clear articulation, and his beautiful tone. Most important, however, was his adherence to the idea that Mozart scales and fast runs should be played as melody, allowing each note to speak. In so doing, he brought to mind the best interpreters of Mozart such as Lupu, Schiff, and the late Polish pianist Artur Balsam. I urge my readers to keep his name—already famous—foremost in their minds. Piano playing doesn’t come much better; perhaps faster and louder, but not better.”