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Performances conceived, delivered and heard during a state of crisis, or in its aftermath, can be hugely different from those that are not.

Szpilman's fellow musicians - whatever side they were on during the war - changed so much over the 1940s and after that the great masterpieces they performed seemed to rewrite themselves. How the current war will change what we hear remains to be, well, heard.

Most arresting is a 1960 reading of Schumann's Fantasy in C major, the middle movement, which reaches an utterly singular, harrowingly intense climax.

Nobody can really say this reflects Szpilman's wartime hardships, but my intuition tells me, unmistakably, that only someone who has paid rent in the abyss could conceive such phrase readings.

In fact, it is merely one episode in an extraordinary story of survival, recently published in English as The Pianist.

Wladyslaw Szpilman, already a famous musician and composer when the war broke out - Poles of a certain generation still know the words to his popular songs - was rescued not only by a German but by a Jewish policeman, who pulled him out of a queue of people boarding trains for Treblinka; by his talent, which kept him alive in the starving Warsaw Ghetto; and by, in his own estimate, no less than 20 Poles who smuggled him out of the Ghetto and then hid him in their flats, knowing that they and their families could be sentenced to death for helping a Jew.

David Patrick Stearns Philadelphia Courier Sun, Mar.

30, 2003 London - 3rd May 2000 - The judges of the annual Jewish Quarterly-Wingate Literary Prizes tonight awarded this year's Non Fiction Prize to Wladyslaw Szpilman for The Pianist (Phoenix / Golancz).

What I heard didn't change, but the film explained a few things.

The real-life Wladyslaw Szpilman, whose memoir was the basis of the film, didn't play that way.

Even before hearing the two Szpilman discs that have hit the market amid the two-Oscar success of The Pianist, seasoned music lovers could have predicted that.

Szpilman, who died three years ago, was an artist of sterling pedigree, which all but guarantees his recordings won't be a redux of the David Helfgott-style compromised pianism heard in the wake of the 1996 film Shine.

No, from the first notes of both Szpilman discs, you hear poetic, Old-World rubato and that warm blanket of piano tone that's missing from the film's soundtrack performances by Janusz Olejniczak.

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