"....William Anderson’s skills are both mesmerizing and inspiring..." --
-->Take Effect<-- April 7, 2021
"....a terrific performance."
"Performances are first rank throughout." --- Colin Clark, Fanfare, June 2021
A review of Anderson/Fader Duo's Le Cirque--
.....works of high energy, dissonance and ugliness (and I mean no disrepect here) sit alongside ones of passion, tenderness and 'normality'. No matter what description is given to any of the works involved here they are all gripping and hold the interest in one way or another: there are 'no throw-away' compositions here.
Tracks of outstanding interest include a new slant on American singer/sonwriter Gillian Welsh's strange but hypnotically attracve song My Morphine (here superbly interprested by soprano Haleh Abghari)....Anderson-Fader do themselves proud in an album of diverse musical tastes. They perform superbly well and similarly excellent performances are given by sopranos Haleh Abghari and Elizabeth Farnum.
– Steve Marsh, Classical Guitar Magazine
April 2014
Vox n Plux at NYFOS (New York Festival of Song)-->
Mr. Meltzer’s own “From a Book of Beautiful Monsters,” set to texts by Aracelis Girmay, took the idea of portability one step further by doing away with the piano. Instead, his instrumentation blended the warmth of Oren Fader’s guitar with the silvery twang of William Anderson’s mandolin as a foil for Elizabeth Farnum’s bright soprano. In one instance, the instruments recreated sounds of nature — raindrops, the chirping of crickets — under a darkening vocal line.
CORINNA da FONSECA-WOLLHEIM New York Times
APRIL 2, 2014
"the alert guitarist, William Anderson..."---Paul Griffiths, the New York Times, 01-11, 2004
"The February 3, 2004 program at Chandler Recital Hall opened with a solo guitar piece, Danci, written in 1996 by Milton Babbitt (b.1916). Mr. Anderson commented on how clear and practical Babbitt's music has become over the years, before he played with passion and precision this challenging work. At first you seem to be hearing unconnected fragments of sound produced by the guitarist but by adjusting your mindset and slowing down your sense of the flow of time the rhythm of this music can be discerned. The title of this work is Esperanto for "dance." Esperanto is a fabricated language, new, strange but also almost familiar and the same can be said of this music." ---
-->Artsong Update, February, 2004<--
"confident and eloquent" ...
....Performance--5 Stars...
....Sound --5 Stars ---
BBC Music, March, 2004
"Electrifying" - - Allan Kozinn, the New York Times, 02-02
"first rate" - Bernard Holland, New York Times
“Anderson’s playing is of a high order of dexterity, virtuosity, and brilliance, and is indicative of the tremendous advances made in gutiar technique over the past four decades. Prior to that, very few guitarists would have had the skill to even begin to play such demanding works....Guitar aficionados are strongly advised not to miss it." - David Denton, Fanfare
“The mirror-paneled recital room provided an apt visual metaphor for how such seemingly modest dimensions can trick the ear into an impression of vaster scale. Guitarist William Anderson brought both technical and expressive virtuosity to his accounts...a quasi-orchestral pallete of coloristic effects...deftly realized by Anderson as he shaped each entry with epigrammatic concentration." - Thomas May, Washington Post
“William Anderson is one of our finest guitar players.” - Leo Kraft, The Music Connoisseur
“played with virtuosity and a close attention to style.” - Joan Reinthaler, Washington Post
“The mindful voice of Ives, of Stravinsky and of Mr. Wuorinen’s music would not seem to be implied much by such a song as “Night and Day,” but Mr. Anderson’s extraordinary arrangements of this and other numbers by Jerome Kern and Richard Rogers set them squarely and astonishingly in the same tradition...” - Paul Griffiths, New York Times
“The moving spirit behind Cygnus is the brilliant guitar player William Anderson...If Mr. Anderson’s aim was to show how the guitar can play a significant role in chamber music, he certainly succeeded.”
– Leo Kraft, The New Music Connoisseur
"Performed with warmth tenderness and strength by Mr. Anderson. ...Mr. Anderson soared over the different challenges presented by a difficult, contrapuntally complex solo guitar work by Milton Babbitt. He danced over the virtuosic combinations of rhythms and pitches, at the same time communicating a strong, long-phrased emotional getsure." - Graham Mckinley, Princeton Packet
"Most ear-catching was William Anderson's ability to turn the guitar into a koto." - Classical New Jersey
“...a sensitive, thoughtful player.” - Allan Kozinn, New York Times
“a seriously dedicated and adventurous performer.” - Emma Martinez, Classical Guitar (London)
“...El recital en general se distinguio por las interpretaciones de musica de corte romantico, con la que se indentifica Anderson, en un rasgueo minucioso y preciso, sin perder la sensibilidad expuisita, que constituyo su toque personal, al interpretar a J.K. Mertz, Meyer Kupferman, Francesco Da Milano, William Kenter...” - Yolanda Sereno Ayala, La Voz, Michoacan, Mexico
"Die Palette reichte von einfuhlsamen, melancholischen Stucken bis zu voluminosen Passagen und zarten Rhythmen. Das Publikum applaudierte begeistert und verlangte Zugaben. Dieser Wunsch wurde auch prompt erfullt." - Rotenburg, Germany
"top-notch" - Cecilia Porter, Washington Post "top-notch" - Fanfare
"Anderson astonished everyone with his ability to deal with a great variety of musical idioms, his skill in utilizing the entire range of tones and moods. He stretched himself from perfect, almost abstract concentration in pieces by Brickle and ter Veldhuis, through the serenity and humor of de Falla and Sauguet, to the meditative melancholy of the Schubert songs." - Magdelene Dziadek, Ruch Muzyczny, Warsaw
“the perfect pioneer” - Lili Afshar, American Record Guide