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Gauting,Germany, Recital

Saturday 6 March 2010

Der Süddeutschen Zeitung, Reinhard Palmer

‘A Keyboard Visionary…The ‘vocabulary’ of Grosvenor’s ‘piano dictionary’ knows no bounds. Like a painter, he sketches scintillating moods in Ravel’s ‘Gaspard de la Nuit.’ And Liszt’s B minor Sonata matures into a grand unity…the refreshingly modest Grosvenor mastered even the most virtuoso finger-acrobatics with natural ease. Not for one moment, however, was it Grosvenor’s intention to emphasize his technical skills. On the contrary, he withdraws himself in the most demanding passages so that the listener can concentrate on the musical substance underlying the dazzling side-effects. Especially in this trait, Grosvenor’s unlimited abilities and his extraordinary range of musical expression are evident.”

Der Starnberger Merkur, Arno Preiser

[in the Liszt Sonata] “thundering climaxes and effective accelerations had room to evolve. Grosvenor’s interpretation suggested orchestral grandeur as well as the intimacy of chamber music. Grosvenor interpreted Ravel’s ‘Gaspard de la Nuit’ as an echo of the dreamlike juggling of romantic arpeggios and a bursting forth from impressionistic experimentation with magical sonorous combinations into the realm of the ‘Modern’ ”