Ever since appearing as a finalist the 2004 BBC Young Musician of the Year at age 11, pianist Benjamin Grosvenor has quickly become one of the most sought-after soloists in the world. His remarkably clean technique and astonishing range of colour has made him particularly celebrated in the music of Ravel and Saint-Säens. His recital in Vancouver was a clear departure from his usual repertoire – in truth, a more varied programme than the one he presented could hardly be imagined.
Rameau’s Gavotte and Variations opened the evening, and served as an ideal showcase for Grosvenor’s technical clarity and intelligent musicianship. It was clear from the outset that Grosvenor’s command of the keyboard is unparalleled, with a remarkable ability to go from the most intimate of pianos to fortes that filled the hall all while maintaining the clearest articulation imaginable. However, his playing lacked the necessary exuberance and flamboyance typically associated with Rameau’s dazzling music. The same sense of anonymity was also to be found in Grosvenor’s performance of Busoni’s transcription of Bach’s monumental Chaconne from the second partita for solo violin. Though Grosvenor’s interpretation was intelligently thought out, there was little sense of connection to the music, particularly in the fascinating harmonic changes in the middle section. There is no doubt, though, that it was pleasing to hear the demanding score played with such technical ease and attention to detail.
The first half of the concert ended with Franck’s Prélude, Chorale and Fugue, which was more satisfying in every way than the Rameau and Bach. Here, Grosvenor’s ravishing soft playing was exploited to full effect, and the counterpoint was delineated with great clarity. However, this clarity often came at the expense of the legato line, and as a result tended to sound somewhat choppy.