We hear Win­ni­cki in a diver­se pro­gram­me start­ing with the chal­len­ging Baro­que Eng­lish Suite no 2. in a minor by Bach, with its beau­tiful slow Sara­ban­da, fol­lo­wed by Mozarts Pia­no Sona­ta in F major.

Win­ni­cki repres­ents the renow­ned Polish com­po­ser-pia­nist, Pade­rew­ski, in his Varia­ti­ons in A major op. 16. The deco­ra­ti­ve filigree of the­se pie­ces is embedded in a musi­cal lan­guage inno­va­ti­ve, yet stron­gly roo­ted in Roman­tic tra­di­ti­on. The dance form returns with Andan­te Spia­na­to and Gran­de Polo­nai­se Bril­lan­te op.22. Win­ni­cki cle­ar­ly iden­ti­fies with the young and vivid Cho­pin in his maje­s­tic Polish dance, which nevert­hel­ess demands a light and flu­ent touch.

To con­clude the reci­tal is Saint-Saens “Dan­se Macab­re” op. 40 a dark and wild vir­tuo­sic tran­scrip­ti­on for pia­no by Liszt.