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Free Times (2014):
The first three piano works were genuine musical extravaganzas, beginning with Bizet’s Carmen Fantasy — arranged by Greg Anderson … Everybody knows Carmen, but this is a Fantasy, and Anderson takes it a step beyond a straightforward arrangement — maybe several steps beyond — and nobody does this better than he.
San Jose Mercury News (2011):
On "The Devil's Staircase" (aka Ligeti's Étude No. 13) he drove full-throttle through the obsessive pistonlike surges up the keyboard, reaching higher and higher and drumming at the keys in the upper treble range. You could practically see the damned soul, struggling and failing to escape the fires.
After intermission, Anderson performed Rachmaninoff's rarely heard Sonata No. 1 in D minor. He called this immense work, which he played from memory, "profound, spiritual and so exciting." And then, for 35 minutes, without saying a word, he showed why.
His performance was gripping, with rapturous renderings of perfumed textures in the Lento movement. In the finale, Anderson went for broke: galloping rhythms, densely cross-hatched passagework, bell-ringing chordal effects. ... It was thoughtful, passionate and very in the moment.
Times Union (2011):
The strongest and most interesting piece of the evening came almost halfway through with, of all things, two movements from Tchaikovsky¹s “Nutcracker Suite,” played by all five pianists. The original version of the Overture and March were played first, and then a new “tripped out” version created by Greg Anderson followed. The Overture became a Broadway jazzy vamp, almost unrecognizable, and the March¹s reincarnation was a virtuosic, very clever classical contemporary work, and both were tremendous fun, performed wonderfully by the five.
La Nueva Espana:
Greg Anderson brought the audience to its feet with shouts of "bravo, bravo!" He left this reviewer at loss for words.
Edmond Life & Leisure, regarding a concert in which Greg replaced Desirae Brown of The 5 Browns (2008):
Once he was on stage Anderson quickly became the star of the concert. His modest charm, virtuoso performances and the strength of his arrangements assured his immediate acceptance and success with the audience. As the old saying goes, if you must have a replacement make sure that replacement is equal to or better than yourself.
The remainder of the evening was greatly enhanced by Greg Anderson's astounding performance of his adaptation "Danse Macabre: Hootenanny for Five Pianos," accompanied by the Browns. In this work as well as in his quick and manly pounce onto the piano keys during his arrangement of Gustav Holst's "The Planets," Anderson performed with remarkable astuteness: He is indeed a performer par excellence, and the Browns should keep him on their programs permanently.
Daily O'Collegian (2008):
His pieces were so lively that the audience burst out into laughter.
Schenectady Daily Gazette, regarding Greg's "Danse Macabre: Hootenanny for 5 Pianos" (2008):
South Florida Sun-Sentinel (2008):
Greg Anderson's "Fantasia on Dives and Lazarus," a set of variations on an English folk tune, was grandly rhapsodic yet crafted with intellectual integrity. The Browns aced the bracing counterpoint with clarity and breezy showmanship.
The Washington Post:
The Southampton Press, regarding Greg's Libertango transcription:
Riveting ... extremely imaginative!
The Southampton Press, regarding Greg's "A New Account of the Blue Danube Waltzes":
a pièce de résistance ... at once a small satire on and an act of homage to the great Viennese master of the frivolous and the joyous. ... It has an elegance and a romance that is of another time. The seduction paid off.