Concert Review: Benjamin Grosvenor RecitalNovember 17, CH
Benjamin Grosvenor Recital
Mendelssohn-Chopin-Ravel-Liszt
I first came to know Benjamin Grosvenor through a library CD (Decca) of Saint Saens, Gershwin and Ravel. While I marveled at the playing I wasn't brought quite into the music. I must say hearing him live was much more of an exciting event, and no matter how good the recording was, it did not really faithfully portray his pristine sound, particularly in the treble; nor did it truthfully reflect his spontaneity.
One month ago, much of this program was played in Carnegie Hall, and the NY Times critic called him "Boy-Lord" of the Piano (here)!
One word about the program. It was very intelligently planned, with many interlocking elements. The two halves were symmetrical, each beginning with a master's tribute to a moyen age; then moving on to two closely related composers, linked by music inspired by the water.
Two of Mendelsohn's Preludes and Fugues (Op 35) opened the program. These are almost never heard, and they proved stimulating. As played, as much as the Preludes were chiseled jewels (you'd not expect less of this composer), the Fugues were more solemn edifices (though I personally am not fond of fugues).
Chopin's Bacarolle was not quite the romantic thing some conjured. The waters seemed to be under a well-lit sky. Personally I prefer Chopin's miniatures, and I loved the Two Mazurkas (Op 63/2 and 30/4), well sprung and poetic. But most impressive was the Andante Spianato et Grand Polonaise Brilliante. The lovingly molded Andante did not prepare me for the very personal "Polonaise" that followed, which unlike the title was not conceived in a grand manner (as most play it); instead it was by turns coquettish, whimsical, even jazzy or jaunty! This pianist is his own man.
Second half started with Ravel's strangely beautiful Le Tombeau de Couperin, for me a piece that has tripped many a pianist (including many so-called Ravel "specialists"). Grosvenor brought a very original and fresh perspective to the work. A friend remarked that he played the Toccata like Prokofiev, which is as it should be.
Liszt's Venezia e Napoli concluded the program brilliantly. While the Gondoliera and Canzone were meticulously textured, the Tarantella showcased the pianists awesome bass power and concentration.
Grosvenor's playing does not lack at all in light and shade, but misty and mysterious it never was. Here is a young man reveling in his own power, yet a master at tone-painting and not afraid to bend a few things along the way. Perhaps some may miss some depth, but his showmanship more than makes up for it. His Chopin is completely different from that of Nelson Freire (see review below), yet I am glad I have heard it. A man to watch.
