Benjamin Grosvenor: Grieg

  • Thursday 25th February, 7.30pm

City of Birmingham Symphony Orchestra

Programme

  • Elgar  Falstaff , 35′
  • Grieg  Piano Concerto , 30′
  • Brahms  Symphony No. 3, 37′

Benjamin Grosvenor’s encore – Dohnányi – Capriccio Op.28 No.6
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Benjamin Grosvenor’s playing has been called “a kind of miracle”, and last time he performed with the CBSO, this 23-year old British pianist held Symphony Hall spellbound. You’ve probably heard Grieg’s Piano Concerto before – but never quite like this! It’s the glowing heart of a concert that begins with Elgar’s colourful portrait of Shakespeare’s fat knight and ends in the romantic sunset of Brahms’s ardent Third Symphony..

 

Review by John Quinn, SeenandHeard, MusicWeb:

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…     “The young British pianist Benjamin Grosvenor joined the orchestra for Grieg’s Piano Concerto. It’s easy to understand the work’s enduring popularity, not least because the thematic material is so memorable. I realised that it had been some time since I heard the work and I was glad of that because the work came up very freshly here. That said, I think it would have sounded fresh anyway; such was the nature of this performance. I’ve seem Jac van Steen conduct on several occasions in the past and one of many things that has impressed me is the clarity of his direction. Prior to this evening, however, I don’t recall that I’ve seen him conduct a concerto but that clarity was much in evidence and I’m sure it helped tremendously in shaping a keen and responsive account of the orchestral accompaniment.

Grosvenor himself was very impressive. In the first movement he proved himself well equipped for the bravura passages but I was even more taken with the poetry in his playing. The cadenza offered an excellent illustration of both facets. He began it with reflective musing and then gradually increased the power of his playing so that there was a sense of the heroic as the cadenza reached its climax. The lovely slow movement began with gorgeous string playing; the sound was velvety and deep. Grosvenor was delicate and pensive in the early pages of the movement and then later invested the music with plenty of romantic expression. There was fine energy in the dancing music with which the finale opens. Later that tune was gorgeously introduced by principal flute, Marie-Christine Zupancic, her tone making the music sound like a draught of clear spring water. When his turn with the tune arrived Grosvenor relished it, yet there was no self-indulgence to his playing. After a return to the energetic material the apotheosis of the Big Tune had suitable grandeur but was not overblown either by Grosvenor or his conductor.

Following this excellent performance I noticed that it was not just the audience who showed their appreciation: Jac van Steen and the CBSO applauded Grosvenor with genuine enthusiasm. He gave us short, dexterous encore”     …

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Review by Peter Marks, BachTrack:

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…     “Especially welcome was the inclusion of Elgar’s symphonic study, Falstaff. Elgar was an admirer of Richard Strauss’ works, his tone poems in particular. When I hear Falstaff I can’t help but think of the similarities between the antics of Falstaff and Don Quixote from Strauss’ eponymous tone poem. In both works the protagonist is mostly represented on the cello and this is surely no coincidence. Elgar’s Falstaff is the more serious portly knight from Shakespeare’s Henry IV rather than the comical character featured in the The Merry Wives of Windsor. Though the composer denied overt programmatic content, the music is structured around various episodes featuring Sir John Falstaff and his companion, Prince Hal – heir to the throne.

Jac van Steen wasted no time in establishing Falstaff’s character in musical terms with a confident, swaggering start. It was a joy to see a conductor so very much at home with this orchestra and an orchestra so much at home in this repertoire. Various members of the orchestra excelled in bringing the cowardly knight to life, from a particularly throaty contrabassoon to rude-sounding horns. Later, in the Boar’s Head episode it wasn’t hard to imagine drunken goings on with cantankerous solos from the principal cellist and bassoonist. Van Steen paced the piece excitingly throughout, yet he still found time to appreciate these delicious details in the score.

Grieg’s Piano Concerto is so well known as a concert hall favourite and showpiece that it helps to be reminded what a rich and substantial piece of music it is. Benjamin Grosvenor dispatched those famous opening chords in a serious yet unpretentious manner that was to characterise his interpretation of the piece. After a buoyant orchestral introduction, Grosvenor was off like a rocket. This first movement was always mobile, never rhetorical in his hands. He is an especially attentive musician, always taking care to listen to players accompanying him in the orchestra.”     …

 

 

Tchaikovsky’s Pathétique Symphony

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  • Pure Emotion

Saturday 14 December 2013 at 7.00pm

Symphony Hall, Birmingham +44 (0)121 345 0600

City of Birmingham Symphony Orchestra 

Andrew Litton  conductor

Benjamin Grosvenor  piano

Rachmaninov: The Rock 13′

Saint-Saëns: Piano Concerto No.2 23′

Tchaikovsky: Symphony No. 6 (Pathétique) 45′ Listen on Spotify Watch on YouTube

Benjamin Grosvenor’s encore – Saint-Saëns – Le Cygne

Tchaikovsky   didn’t stint on emotion, and with his shattering Pathétique Symphony,   he wrote out his very soul. Music simply doesn’t get more overwhelming than   this, so we’ve paired it with a complete contrast: Saint-Saëns’s outrageously   entertaining Second Piano Concerto, played tonight by the brightest new star   of British piano playing, the 21-year old Benjamin Grosvenor, who opened the   BBC Proms last year.

“The Pathétique is Tchaikovsky at his best: full of   drama and great tunes, with the most tragic final movement… Cello and Double   Bass heaven!” (Catherine Ardagh-Walter, Cello)

Due to the popularity of the Birmingham Christmas Market please allow ample time for your journey to Symphony Hall.

http://www.cbso.co.uk

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Review by Norman Stinchcombe, Birmingham Post:

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…     “Benjamin Grosvenor’s performance encompassed its various moods with ease; cleanly articulated thunderous chords alternating with coquettishly delicate passagework and Saint-Saëns occasional vamp-till-ready passages were adroitly made to sound better than that. The CBSO under Andrew Litton (himself a fine pianist) gave excellent support.

Litton has long been a perceptive conductor of Rachmaninov and Tchaikovsky, as his recordings of their complete symphonies testify. The former’s youthful tone poem The Rock was given a splendid performance from its bass-led opening – black as the pit of Acheron – to the contrasting skittish woodwind section with some delightful playing from Marie-Christine Zupancic (flute). Litton built up the final delayed when-will-it-modulate section into an ecstasy worthy of Scriabin.”     …