One of the world’s most celebrated pianists, renowned for the emotional intensity of her interpretations, Hélène Grimaud presents a beautiful, haunting call to nature – ‘WATER’ is an evocative, experimental, deeply personal project combining Hélène’s two greatest passions: music and nature
With a flawless technique, a delicate touch and playing of poetic expressivity, the French pianist Hélène Grimaud has quickly become one of the most important musicians of her generation. Virtuosic gifts aside, her deep commitment to human rights and the protection of endangered species, among other causes – along with her radiant personality and charm, have won her fans beyond the world of classical music lovers.
Helene Grimaud presents her first-ever Bach recording! Once again, charismatic Helene Grimaud presents an album with an individual concept. Bach vs. Bach Transcribed brings together original keyboard works by the master with works by Bach arranged (transcribed) for the piano by pianist-composers of later generations: Busoni, Liszt & Rachmaninov. This is the first time that Hélène Grimaud has recorded Bach - a challenge for any musician. The repertoire includes the famous Well-Tempered Clavier II and the Concerto no. 1 in D minor, the latter performed with Grimaud's regular collaborators, the Kammerphilharmonie Bremen. Bach "Transcribed" features the Bach/Busoni version of the Chaconne in D minor, the Violin Partita in E major arranged for piano by Rachmaninov, and Liszt's version of the Prelude and Fugue in A minor. A landmark project in Grimaud's successful career, this recording is bound to be a best-seller.
There are all sorts of correspondences, musical and otherwise, that confer unity on this eclectic mix of works. John Corigliano's Fantasia, given a smashing performance by Grimaud that milks every ounce of poetry and mystery from its quieter moments, is based on the Allegretto of Beethoven's Seventh (just as Pärt's Credo quotes Bach). Both Beethoven's Choral Fantasy and Pärt's Credo are written for the unusual combination of piano, chorus, and orchestra, and both in their different ways seek to bring order from chaos (or in musical terms contrast "improvisation" with "composed" music). The odd man out here (conceptually at least) is Beethoven's Tempest Sonata, in which Grimaud finds similar qualities via its supposed inspiration in Shakespeare's eponymous play. In any case, it takes no special pleading to include two works by the same composer, and its inclusion makes for a thoughtful and attractive concept album that not incidentally keeps the focus squarely on Grimaud.