“Thoroughly exquisite” – Frankfurter Allgemeine Zeitung

“Her technical ability is stupendous” – Wolfgang Rihm

Anna Zassimova is a pianist of a kind rarely still found, the sort you’d imagine in the pages of a 19th century novel. Her playing bleeds with passionate intensity, all softness and fury, coupled with an unparalleled knowledge and sympathetic understanding of the works she plays. There’s nothing showy about it, though it’s riveting, and all the emotion – and my god there is plenty – is of the sort that can only be lived, and cannot be faked.

Zassimova is a product of – perhaps the last generation of – the Great Russian School founded by Heinrich Neuhaus: Bayerische Rundfunk were the first of many to compare her playing to that of Richter and Gilels. The comparison is an apt one.

She trained at the world-renowned Gnessin School in Moscow from age six. While studying her first degree (in piano, at Gnessin Academy, taught by Vladimir Tropp), she experienced the traumas of the collapse of the Soviet Union first hand and full-on, an experience she credits with causing her to “commit” to her art as the only stable point in what was, for her, a time of great instability. Her education, she explains, trained pianists’ hands and minds, almost from birth; it was at this time that piano became her soul. Personal circumstances led her to leave Russia for Germany during this period. She received a DAAD Fellowship to do so, and duly studied at the Karlsruhe Music University (under Michael Uhde und Markus Stange) where she now teaches.

“Bold and romantic, but also clear and precise” – Classical CD reviews, UK.

“The lines of her music have elegance but also clearly defined shape – declamations rather than sentimentality” (Klavier.de).

Over the course of the last decade, she has entranced audiences at a plethora of festivals and major concert halls, both with her solo recitals and her concerti. Her solo CD recordings, featuring Romantic and contemporary works, and released on Antes, have drawn unchecked praise from every quarter. These recordings have focussed on Chopin, her great ‘non-Russian’ love, Brahms and fin-de-siecle Russian composers. Vergessene Weisen (“Forgotten Ways”), her album of disappearing Romantic and modernist Russian music and ways of feeling, featuring Medtner, Catoire, Scriabin and Roslavets is widely considered her greatest recording. It’s sequel, Sonata Reminiscenza, is currently being mixed. She has also featured on chamber recordings of Tanejew and Catoire, released by cpo.

Zassimova is unusual among performers of her calibre for the breadth of her artistic education, and has taken additional degrees in musicology (where her monograph on Georgy Catoire is singularly responsible for renewed interest in the early 20th century composer) and history of art. She has worked with numerous galleries and events to create programmes pairing paintings and piano works, and entrancing audiences with her discourses on the former and performances of the latter. She is also herself an avid painter, with numerous collectors of her miniaturist images of the Russia she remembers,

But it is the piano, truly an extension of Zassimova’s soul, at which all these disparate passions, tempests and deep thoughts come together. And how they do! There are many great piano performers in our time. Zassimova is a true Artist.