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Resonances / Helene Grimaud


Release Date: 01/25/2011 
Label:  Deutsche Grammophon   Catalog #: 001515402  
Composer:  Wolfgang Amadeus MozartAlban BergFranz LisztBéla Bartók
Performer:  Hélène Grimaud
Number of Discs: 1 
Recorded in: Stereo 
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Notes and Editorial Reviews

Hélène Grimaud is back and presenting a new solo recital program, which she will take on a world-wide tour during the upcoming concert season. Her new album Résonance, reflects Grimaud’s imaginative approach to this stimulating compilation of masterpieces. Grimaud brings all her artistic maturity and a perfect balance between intellect and emotion to bear on highly dramatic sonatas by Mozart – the A minor K.310 – Liszt and Berg, followed by Bartók’s irresistible Romanian Folk Dances.

R E V I E W S:

Although only forty-one, Hélène Grimaud has been making records for a quarter-century, and she only gets better at it. Her recent albums for Deutsche Grammophon have seen the
Read more pianist keen to create thematic experiences, not just bundles of repertoire. Resonances traces a line through the Central European tradition via three sonatas that work as taut instrumental dramas. A willful interpreter at times, Grimaud begins Mozart’s Sonata in A minor, K. 310 with nervy phrasing that can sound both fussy and rushed to an ear used to, say, Alfred Brendel. A few more plays, though, and Grimaud’s quirks actually seem digitally bold, and she imparts an exciting, contemporary feel to the piece overall. In Liszt’s Sonata in B minor, Grimaud never lets its surging half hour seem episodic; hers is a headlong, holistic interpretation that pulls you along in its wake — and it feels more like great music-making than just great piano-playing, as with Yuja Wang’s extravagantly explosive version. Alban Berg’s Op. 1 Sonata of 1910 feels like all of Late Romanticism compressed into a single movement; at nearly twelve minutes, Grimaud takes more time with it than Murray Perahia, but she builds cumulative power. As a coda, Grimaud offers Bartók’s six Romanian Folk Dances. These miniatures lose earthiness when played by solo piano rather than violin/piano; that said, Grimaud balances dizzying articulation with ghostly lyricism, as persuasive as ever.

– Bradley Bambarger, Listen [Spring 2011]
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Works on This Recording

1.
Sonata for Piano no 8 in A minor, K 310 (300d) by Wolfgang Amadeus Mozart
Performer:  Hélène Grimaud (Piano)
Period: Classical 
Written: 1778; Paris, France 
Date of Recording: 9/2010 
Venue:  Rundfunk-Zentrum, Berlin 
2.
Sonata for Piano, Op. 1 by Alban Berg
Performer:  Hélène Grimaud (Piano)
Period: 20th Century 
Written: ?1907-08; Austria 
Date of Recording: 9/2010 
Venue:  Rundfunk-Zentrum, Berlin 
3.
Sonata for Piano in B minor, S 178 by Franz Liszt
Performer:  Hélène Grimaud (Piano)
Period: Romantic 
Written: 1852-1853; Weimar, Germany 
Date of Recording: 9/2010 
Venue:  Rundfunk-Zentrum, Berlin 
4.
Romanian Folkdances (6) for Piano, Sz 56 by Béla Bartók
Performer:  Hélène Grimaud (Piano)
Period: 20th Century 
Written: 1915; Budapest, Hungary 
Date of Recording: 9/2010 
Venue:  Rundfunk-Zentrum, Berlin 

Featured Sound Samples

Piano Sonata no 8 (Mozart): III. Presto
Piano Sonata (Berg)
Piano Sonata in B minor (Liszt)

Customer Reviews

Average Customer Review:  1 Customer Review )
 Great Music Making November 15, 2013 By Peter T. (Bethesda, MD) See All My Reviews "I borrowed this phraze from Mr. Bamberger. His review ( see above ) is very accurate. Read it. -----Let me add the following : HG plays the Liszt Sonata as if she was one of the great romantic pianists of the past . Her performance is mightily impressive, starting with the Recitativo the intensity overwhelming ( ref. Cl. Arrau ). The first movement of the Mozart Sonata is loaded with tension and energy, played as if this was the Appassionata ; realize that this piece of music is Mozart's Appassionata. In the Berg Sonata the powerful scent of color and romanticism HG conveys can not be heard in P-L Aimard's performance.-- Why this record was not honored as the " record of the year " 2011 is difficult to understand. The fact is that this CD is not for general public, for those who love Lieder Ohne Worte and for those with weak nerves. Some may refer to excesses but here is the faithful and truthful expression of the essence and of the spirit of the music performed. And this is also true about other of her recordings." Report Abuse
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