Anton Gerzenberg

"At the Konzerthaus they [Martha Argerich, Lilya Zilberstein, Daniel Arkadij Gerzenberg, Anton Gerzenberg] treated one another to a piano match for 40 fingers: a wild chase through the piano repertoire for four, six and eight hands (…) Pianistic volcanic eruptions with a beguiling play of colours!"

Kronen Zeitung, Karl-Heinz Roschitz, 24.09.2026

"This is not two generations playing, not a mother with her sons, but four champions. (…) Maurice Ravel's 'La valse' with Argerich and Anton Gerzenberg proved one of the highlights. With furious intensity, they brought out its ghostly side."

Kurier, Susanne Zobl, 24.09.2026

"This daredevil takes the pianistic frenzy to new heights. At the Ruhr Piano Festival at Herten Castle, Anton Gerzenberg shines with a stirring exploration of Beethoven’s and Brahms’s breaking with convention. (…) Unbridled enthusiasm and dazzling technique."

Recklinghäuser Zeitung, Bernd Aulich, 10/06/2026

“In this public recital, the soloist presents three piano programmes, like a triptych: Ravel/Balakirev for tragedy and virtuosity, Ravel/Liszt for fluidity, and Ravel/Godowsky for dance-like expressiveness. Anton Gerzenberg demonstrates his fascination with what he calls Maurice Ravel’s ‘kaleidoscope’. This allusion to the shimmering facets of an instrument that refracts light endlessly is a fitting signature for a debut album, which confirms the talents of the winner of the 2021 Géza Anda Competition."

Jean Lacroix, Crescendo Magazine, 07/06/2026

“Anton Gerzenberg’s foremost aim here is atmosphere. He decisively rejects the ascetic denial of pleasure favored by some of his colleagues, immersing himself fully in the waltzes and conveying their dramaturgy with an impressive arsenal of colors and dynamic nuances.”

Remy Franck, Pizzicato 12/12/2025

“Right from the start, Anton Gerzenberg performed Arnold Schoenberg’s Suite, Op. 25, with grandeur. Sonically, the pianist blended crystalline treble with a more supple bass: a transparent harshness, softly cushioned. A fantastic opening to this recital. (…) One of several indications of what a special artist is clearly maturing here: a well-considered, ingeniously crafted, extremely demanding program. Add to that a technical tour de force and a profound, unpretentious stage presence entirely focused on the works.”

Marion Eigl, Die Presse, 25/09/2025

“Hats off: Gerzenberg doesn’t just deliver a virtuoso performance here; he also has a delicate touch (and a light foot on the pedal) for creating dazzling soundscapes.”

Christoph Irrgeher, Der Standard, 24/09/2025

“That evening, we were reminded that the piano is also a string instrument, that the notes can be caressed, and that even in the most powerful fortissimo, the focus can remain intact, with transparency and clarity never lost. Each composition has its own dramatic structure, its own arc of tension: Argerich and Gerzenberg take us by the hand, revealing the stories behind the works.”

Raliza Nikolov, NDR Kultur, 01/08/2025

“The 28-year-old impresses with his relaxed, inspired playing. In perfect harmony with the Graz Philharmonic Orchestra, he performed Mendelssohn’s early masterpiece with lively emotion.”

Beate Frakele, Kleine Zeitung, 27/11/2024

“With a balanced, early-Romantic freshness, the Hamburg-born pianist - a master of his craft - truly captures the rhythm of Mendelssohn’s G minor Concerto. Yet Gerzenberg’s focus on structure is always palpable. As a result, his lyrical passages sometimes sound more like trains of thought than expressions of emotion.”

Kronen Zeitung Steiermark, 27/11/2024

"Piano soloist Anton Gerzenberg gracefully navigates through this grand work with elegant touch. The richness of colors he draws from the piano is radiant."

Markus Schramek, Tiroler Tageszeitung, 21/04/2024

"His technical control is brilliant. So is his emphasis. "I wanted to be a volcanologist one day," he says later. Nothing came of it. But he channels the lava flow of Brahms' tones excellently."

Hans-Günter Fischer, Mannheimer Morgen, 10/04/24

"Prokofiev's extremely virtuosic and almost acrobatic way of writing for the piano requires a player with a steel finger and sometimes even iron fists.Gerzenberg, who played with unobtrusive ease, was perfectly up to the task and managed to bring some personal touches to a much-played concerto. Particularly admirable was the agility with which Gerzenberg moved from pearly bright fingerwork to steely strong chords and octaves."

Hannu Hirvelä, Tilaajille, 10/11/2023

"...with power and brilliant technique. It allows Gerzenberg many colours and valeurs of expression to let Ligeti's infinite notes buzz, hammer, flow, sparkle - or even swing and flatter. A rousing and enriching concert experience far from the "talent" category, which one would like to see more often in "regular" concerts in such form and quality."

Stefan Musil, Die Presse, 06/06/2023

"...extravagant virtuosity ... Here [Liszt's "Années de Pélerinage: Suisse] the piano sound suddenly breaks into a hundred colours ... Despite appropriate thunder, the piece sounds thoroughly differentiated."

Peter Uehling, Berliner Zeitung, 16/05/2023

"Gerzenberg was in a league of his own. He seemed in total control, armed with uncommon self-assuredness for a pianist of his age. [...] He looks every bit a potential leading light of his generation.“

James Imam, Musical America Worldwide, 16/06/21

"This rich concert experience, profound musicality and brilliant piano technique have benefited his multifaceted interpretations of Liszt as much as his interpretations of Brahms, Ravel and Bartók in recital."

Julia Spinola, Neue Zürcher Zeitung (NZZ), 06/06/21

"Suddenly there was a pianist on the stage who appeared as a background to the music and acted in such a way as to recognise the text of the notes in its subtlety. [...] He showed immense musicality, convincing in every nuance."

Carsten Dürer, Piano News 05/21