“Her playing is distinguished by her innate sense of style and immaculate articulation. These qualities combine with true musicianship to give performances of uncommon interest, Her interpretation of Beethoven’s “Pathetique” Sonata was masterly; the strength which underlies her playing is always finely controlled and her phrasing delineates the development of the music. The slow movement especially, was most beautifully played with a sober elegance and a wealth of controlled feeling.”
“(Alicja Fiderkiewicz) …demonstrated the truth of the great Rubinstein’s saying – that ‘only Poles can play Chopin properly’. In the three pieces: Fantasie in F minor, Nocturne in E flat major and the Scherzo in E major, her playing was brilliant, with changes of tone and tempo that vividly interpreted and illuminated this endlessly fascinating and intriguing music”.
““…masterly and beautiful music making”.”.
“…Ravel’s ‘Le Tombeau de Couperin’ was a tour de force of subtle colouring and flexible – yet disciplined – rhythm.”
“The exceptionally talented and interesting pianist, Alicja Fiderkiewicz, gave a performance of Grieg’s Concerto in which she showed a masculine strength of attack and a feminine delicacy in the lyrical passages. There was no condescension in her approach and this fine piece emerged fresh and stimulating.”
“In her approach to Mozart: nothing “prettified,” nothing out of scale, but with the awareness that this is “big” music nevertheless. This is what removes her from the category of talented, which is well filled, to that of a nascent artist, altogether rarer. In the now popular Andante (“Elvira Madigan” and all that), she showed that artistry in remarkably mature fashion by her refusal to sentimentalise the melodic line.”