Piano - Fortepiano - Harpsichord
Keyboardist Anthony Romaniuk’s singular artistic voice stems from his relentless exploration of a vast range of musical styles.
A natural musical polyglot, his classical training is complemented by his improvising prowess, allowing him to traverse the borders between genres.
Jazz-obsessed in his youth in Australia, he studied classical piano in New York (Manhattan School of Music), spent several years specialising in early music (harpsichord and fortepiano in the Netherlands) and since then has continued his development across the realms of improvisation, indie rock and ambient/electronic music.
As a classical recitalist, his repertoire includes music from Byrd to Bach, Beethoven, Chopin and Brahms (often on historical instruments), to Ligeti, Crumb and contemporary music. He works regularly with violinist Patricia Kopatchinskaja and tenor Reinoud Van Mechelen and is also a core member of Vox Luminis. Other noteworthy collaborations include working with clarinettist Reto Bieri, cellists Peter Wispelwey and Nadège Rochat, the Australian Chamber Orchestra, Seattle Symphony Orchestra and Danish rock group Efterklang.
He has played at many important concert venues in Europe, including Wigmore Hall (London), Salle Gaveau (Paris), Concertgebouw Amsterdam, Berliner Konzerthaus, Bozar (Brussels) and at the Menuhin Festival (Gstaad), as well as frequent engagements in the US, Australia and Japan.
His debut solo recording “Bells”, released on Alpha Classics, showcases his approach to combining repertoire and improvisation, employing the timbres of four keyboard instruments, consciously pushing the boundaries of classical orthodoxy.
“Perpetuum”, his new solo recording featuring six keyboard instruments employed across a broad spectrum of repertoire (Bach, Adams, Scarlatti, Ligeti, Schumann, Glass, et. al.), will be released on Alpha Classics in February 2023.
This biography is for information only and should not be reproduced.
Bells (Alpha Records)
An eloquently restrained improvisation featuring a reiterated C natural pedal point in the left hand assiduously slips into Shostakovich’s C major Prelude and Fugue. It’s a perfect piece for Romaniuk to decompress from his eclectic, imaginatively programmed keyboard journey
A 12th-century hymn and a Bach prelude sound joyfully disorientating played on a Fender Rhodes; a Shostakovich fugue gets a Bill Evans-ish overture; while a florid African kora solo is elegantly transcribed for harpsichord
Now on grand piano, now on harpsichord, fortepiano and electric piano (an enchanting Fender Rhodes), Romaniuk shows himself to be a strong observer who paints his soundscapes in shades of melancholy, mystery, loss and longing. This results in a hypnotic soundtrack that (fortunately) cannot be reduced to musical wallpaper
De Standaard (Belgium) *****
Flagey Piano Days recital
He likes to experiment and intrigues, fascinates at every moment. He has a broad approach to cover every aspect, from classical piano to electronic timbres, over catchy tunes to dreamy soundscapes. Thus, a colourful palette. Anthony Romaniuk is a pianist who explores the limits of his instrument; he brings all kinds of tricks to his keyboard, which makes the sound extremely exciting. At every moment you are amazed at what he does
Wigmore Hall recital with Patricia Kopatchinskaja
Romaniuk’s touch was perfectly judged….it is impossible to imagine a better performance…. Kopatchinskaja and Romaniuk breathed new life into the music
Seen and Heard International
Adelaide Festival recital
Anthony Romaniuk played the C minor sonata, in what to me was a totally new way of playing Schubert – responsive to every detail, reflecting fluctuations of mood with fluctuating tempi, opening up those questions with which Schubert’s late music is full, questions about life and death, which Romaniuk, faithful to Schubert, left unresolved
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