Benjamin Grosvenor Live from Wigmore Hall
Benjamin Grosvenor piano
Programme
Mendelssohn Rondo Capriccioso in E Op. 14
Schubert Impromptu in Gb D899 No. 3
Schumann Humoreske in Bb Op. 20
Medtner 2 Fairy Tales
Ravel Valses nobles et sentimentales
Gounod/Liszt Valse from the Opera "Faust
live from the Wigmore Hall on the evening of 14th October, 2013, introduced by Katie Derham.
I was alerted to this recital this evening by accidentally tuning into part of the first half - it must have been the Schubert Impromptu played with imagination delicacy and wit. I did not know by whom but it was enough for me to return after the interval.
At first, I was irritated by Grosvenor's Medtner, despite there being so much to enjoy. I've always felt that Medtner was a neurotic worrier and this side of him was very well captured by Benjamin. Ideas tumbled over one another, in a jumpy mosaic. Passages had an amazing clarity with inner lines clarified as rarely before. But... were the martellando passages almost too hard-hammered and rhythmic? Medtner was nothing if not firmly conservative, yet some passages in the "March" conte presaged the Stravinsky of The Rite of Spring and these banged up against the lyrical passages without a sense of bridge or continuity, and, occasionally, without observing Medtner's text. Yes, I felt that Grosvenor's Medtner was "work in progress" - with effort still needed to make great insights into a seamless whole. But.. the lad is only 21. Don't give up on Medtner, Benjamin, please! It's great to hear a new generation getting to grips with this modest but important Russian figure.
Ravel's Valses Noble et Sentimentales were very successful. The poetry, imagination and finesse of some of Benjamin's filigree lines brought tears to my eyes, such was the beauty of his playing. And... those rhythms - even in this most French of Ravel's works, Benjamin found and expressed a Spanish tinge that was arresting and appealing. I enjoyed this performance hugely.
Clever programming to move on to Gounod - as I've not encountered before, tricked out by Liszt and jazzed up by Ben. Grosvenor who played as if possessed
. This was unfettered showmanship; virtuosity at its most rampant. 
Liszt was as good at demonic as Gounod was insipid, but the combination of Liszt & Ben put the Devil at the heart of Gounod's Faust. It needed it and this performance was a triumph for arranger and pianist.
A trivial Tango by Albeniz brought us back from Hell to the Wigmore Hall.
Benjamin Grosvenor remains a youngster to track.
I do hope other Boarders heard him live, or are going to listen on iPlayer - your time will be well spent.
Programme
Mendelssohn Rondo Capriccioso in E Op. 14
Schubert Impromptu in Gb D899 No. 3
Schumann Humoreske in Bb Op. 20
Medtner 2 Fairy Tales
Ravel Valses nobles et sentimentales
Gounod/Liszt Valse from the Opera "Faust
live from the Wigmore Hall on the evening of 14th October, 2013, introduced by Katie Derham.
I was alerted to this recital this evening by accidentally tuning into part of the first half - it must have been the Schubert Impromptu played with imagination delicacy and wit. I did not know by whom but it was enough for me to return after the interval.
At first, I was irritated by Grosvenor's Medtner, despite there being so much to enjoy. I've always felt that Medtner was a neurotic worrier and this side of him was very well captured by Benjamin. Ideas tumbled over one another, in a jumpy mosaic. Passages had an amazing clarity with inner lines clarified as rarely before. But... were the martellando passages almost too hard-hammered and rhythmic? Medtner was nothing if not firmly conservative, yet some passages in the "March" conte presaged the Stravinsky of The Rite of Spring and these banged up against the lyrical passages without a sense of bridge or continuity, and, occasionally, without observing Medtner's text. Yes, I felt that Grosvenor's Medtner was "work in progress" - with effort still needed to make great insights into a seamless whole. But.. the lad is only 21. Don't give up on Medtner, Benjamin, please! It's great to hear a new generation getting to grips with this modest but important Russian figure.
Ravel's Valses Noble et Sentimentales were very successful. The poetry, imagination and finesse of some of Benjamin's filigree lines brought tears to my eyes, such was the beauty of his playing. And... those rhythms - even in this most French of Ravel's works, Benjamin found and expressed a Spanish tinge that was arresting and appealing. I enjoyed this performance hugely.
Clever programming to move on to Gounod - as I've not encountered before, tricked out by Liszt and jazzed up by Ben. Grosvenor who played as if possessed
. This was unfettered showmanship; virtuosity at its most rampant. Liszt was as good at demonic as Gounod was insipid, but the combination of Liszt & Ben put the Devil at the heart of Gounod's Faust. It needed it and this performance was a triumph for arranger and pianist.A trivial Tango by Albeniz brought us back from Hell to the Wigmore Hall.
Benjamin Grosvenor remains a youngster to track.
I do hope other Boarders heard him live, or are going to listen on iPlayer - your time will be well spent.
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