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Resonances

Helene Grimaud

Resonances

...majestically expressive
UNI035 (Deutsche Grammophon)
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Tracks: Listen and Download

Track Time Listen
1
Piano Sonata No.8 in A minor, K.310: I. Allegro maestoso

Piano Sonata No.8 in A minor, K.310: I. Allegro maestoso

Composer Wolfgang Amadeus Mozart
Band Helene Grimaud
07:55 Play
2
Piano Sonata No.8 in A minor, K.310: II. Andante cantabile con espressione

Piano Sonata No.8 in A minor, K.310: II. Andante cantabile con espressione

Composer Wolfgang Amadeus Mozart
Band Helene Grimaud
10:22 Play
3
Piano Sonata No.8 in A minor, K.310: III. Presto

Piano Sonata No.8 in A minor, K.310: III. Presto

Composer Wolfgang Amadeus Mozart
Band Helene Grimaud
02:55 Play
4
Piano Sonata, Op.1: Mässig bewegt - Langsames Tempo - Quasi Adagio

Piano Sonata, Op.1: Mässig bewegt - Langsames Tempo - Quasi Adagio

Composer

Alban Berg

Band Helene Grimaud
11:37 Play
5
Piano Sonata in B minor, S.178

Piano Sonata in B minor, S.178

Composer

Franz Liszt

Band Helene Grimaud
30:13 Play
6
6 Roumanian Folk Dances, BB 68, Sz. 56: I. Stick Dance

6 Roumanian Folk Dances, BB 68, Sz. 56: I. Stick Dance

Composer

Bela Bartok

Band Helene Grimaud
01:09 Play
7
6 Roumanian Folk Dances, BB 68, Sz. 56: II. Sash Dance

6 Roumanian Folk Dances, BB 68, Sz. 56: II. Sash Dance

Composer

Bela Bartok

Band Helene Grimaud
00:28 Play
8
6 Roumanian Folk Dances, BB 68, Sz. 56: III. Stamping Dance

6 Roumanian Folk Dances, BB 68, Sz. 56: III. Stamping Dance

Composer

Bela Bartok

Band Helene Grimaud
01:05 Play
9
6 Roumanian Folk Dances, BB 68, Sz. 56: IV. Dance of Buchum

6 Roumanian Folk Dances, BB 68, Sz. 56: IV. Dance of Buchum

Composer

Bela Bartok

Band Helene Grimaud
01:23 Play
10
6 Roumanian Folk Dances, BB 68, Sz. 56: V. Roumanian Polka

6 Roumanian Folk Dances, BB 68, Sz. 56: V. Roumanian Polka

Composer

Bela Bartok

Band Helene Grimaud
00:29 Play
11
6 Roumanian Folk Dances, BB 68, Sz. 56: VI. Fast Dance

6 Roumanian Folk Dances, BB 68, Sz. 56: VI. Fast Dance

Composer

Bela Bartok

Band Helene Grimaud
00:59 Play
Total Running Time 69 minutes
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Hélène 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, leavened by Bartók's irresistible Romanian Folk Dances.

This album is licensed for download from Deutsche Grammophon where you can buy the CD.

Download includes - cover art

Hélène Grimaud has conceived another programme of works spanning a wide range of emotions and styles, yet all linked by their origin in that singular musical line of succession: the great composers of the Austro-Hungarian empire.Her new album bears the title Resonances, reflecting Grimaud's imaginative approach to this stimulating compilation of masterpieces

For Grimaud the keystone here is Alban Berg's hyper-charged, ultra-romantic Opus 1. In this highly concentrated work, the fascinating interrelationships, resonances, between the composers and pieces are summarized and condensed. 'This is a music drama in the miniature form of a single-movement sonata,' comments Grimaud, 'a maximum of expression that seems to emanate directly from the heart - contained within a piece of incredibly clear structure.'

'[Mozart]: the very difference of Grimaud's approach is of interest...hers is an individual interpretation, and welcome as such, and her turbulent and edgy view of the first movement [holds the attention]...The slow movement offers breadth, balm, and contrasts, to which Grimaud brings heartfelt intuition, and the work is completed by a restless and sonorous finale...[Berg]: this is Berg made intensely voluptuous, his music aflame with everything, both musically and worldly...[Liszt]: Grimaud certainly has the measure of the work's long-line, and brings to it much that is coruscating and thrilling, rhetorical yet focussed, and also majestically expressive.' Classicalsource.com

'Her ardour and romanticism are entirely suited to the Berg and Liszt Sonatas: the technical challenges are effortlessly overcome and the tonal architecture is clearly paramount. Her performance of the Berg Sonata is superb, tightly controlled and forcefully articulated...Her approach to the Liszt is not dissimilar and she succeeds in unifying this vast structure and presenting the closing bars, again, almost as a tonal apotheosis.' International Record Review

'...her way of bringing out the music's dramatic, pre-Beethoven manner convinces strongly. [Mozart's A minor Sonata].' BBC Music Magazine

'The energy on this disc starts to vibrate from the first track . . . a remarkable rendition of Alban Berg's compact 20th-century masterpiece...Grimaud channels her raw energy into something almost sensual, as if her hands were caressing the contours of an oversized sculpture. It feels like music in 3-D.' Toronto Star

'...Hélène Grimaud has been making records for a quarter-century, and she only gets better at it...[Mozart]: 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...[Berg]: she builds cumulative power...[Bartók]: Grimaud balances dizzying articulation with ghostly lyricism, as persuasive as ever.' Listen

'I doubt any recorded recital this year will impress me more than Grimaud's...Grimaud's Liszt B minor Sonata is among the five or six best performances -- on records or off -- that I've ever heard. She plays the allegro sections boldly and vividly. The phenomenal accuracy of her playing, and the excitement it generates, is matched by the concentrated rapture achieved by the beauty of her execution in softer, lyrical passages. Even more important, however, is that her playing is always within the iron grasp of her intellect and will: it illuminates the structure of Liszt's huge edifice and presents its mix of exaltation, serenity and fury with a sure sense of its poetry.' International Piano

A journey  into the interior and to the outer limits

"I was eleven and could play perhaps the first page  and a half. I'd no idea what the piece was about, but what I could read and  play fascinated me," Hélène Grimaud describes her early contact with the piece  that is central to the present release, a piece she first encountered when she  was still practically a child. "Alban Berg's sonata", she continues, "was the  starting point for a programme that seems to trace an arbitrary line through  the history of music." And yet she identifies subtle links that take her on a  geographical journey through the former Austro-Hungarian Empire, although she  admits that "Mozart's Salzburg did not officially belong to Austria, and Bartók  would have strongly resisted this act of appropriation. But somehow Mozart's  music anticipates much that later returns in the music of Austro-Hungary, in  Liszt and even in Berg, where it comes to full fruition."

Resonances can be identified. Echoes and pre-echoes,  fascinating historical links that come together in Berg's sonata. The Op. 1 of  the Viennese master of atonality is nominally in B minor, but it already  explores the very limits of tonality. It serves as the conceptual starting  point and effective culmination of the musical journey that Hélène Grimaud  under­takes with her listeners. And all roads lead to the harmonic and thematic  distillation that Schoenberg's pupil achieved with this "apprentice piece" of  his: Berg's sonata concentrates in a single movement everything that  constitutes a Classical sonata movement and does so, moreover, in the simplest  manner imaginable.

But the architectural rigour - an "echo" of the  Classical structure that Berg learnt from his teacher - goes hand in hand with  a wealth of ideas and an emotional openness that are rarely found in music of  the early modern period, a period that reaches its first real high point in  this work.

"One assumes that a piece with the opus number one",  says Hélène Grimaud, "must be an early work, but the truth is that Berg's  sonata is the perfect incarnation of what he could bring to the world. It's an  extreme expression of something that seems to come from the soul, involving no  calculation and yet resulting in a piece of an unfathomabbly lucid structure."

It was in 2009 that Hélène Grimaud rediscovered the  copy of the score that she had retained from her childhood like some oddly  fascinating treasure. Now an internationally acclaimed pianist, she re-read the  piece that had once seemed so mysterious and that her teacher Pierre Barbizet  had filled with many colourful notes and an affectionate "list of contents"  stuck to the front endpapers. It was now revealed with the immediacy of a  dramatic scene from a Romantic opera. "It's a music drama cast in the miniature  form of a single-movement sonata," says the pianist.

This brings us neatly on to the only piano sonata by  that sorcerer among Romantic pianists, a work that is likewise in B minor:  "Franz Liszt too wrote a single-movement sonata," says Hélène Grimaud, "albeit  on a vast - let's admit it, ‘Wagnerian' - scale. From a structural point of  view, the movements of a multi-sectional sonata in first-movement sonata form,  with exposition, development section, recapitulation and coda, have merged  together. Once again we have echoes of something that is familiar, but  redefined and reordered and concentrated in one vast formal structure. And once  again the question isn't that of the composer's mastery in erecting such a  complex edifice. The fact that Liszt is in total control of the musical structure  says nothing about the equally highly developed mastery of expression. The  result is a music drama guided by the possibilities of the piano, a sonata that  is as theatrical as a sonata can be, operatic in an instrumental sense. Let's  not forget the musico-historical component: Wagner wouldn't have written his  operas if Liszt hadn't existed. At least not in the way he wrote them."

With the Liszt Sonata the pianist becomes a stage  director, a role she sees as an artistic challenge. "Historically speaking,  this leads us back to Mozart. He too writes operatic scenes for his instrument,  giving it recitatives and arias to sing. He extracts everything from the  possibilities of the piano. In terms of his period - and this links him to  Liszt and Berg - he's an extremist in matters of expression, a point that made  him so interesting to Beethoven: the middle movements of Mozart's A minor  Sonata and Beethoven's Sonata op. 31 no. 2 (‘The Tempest') are as related as  any brother and sister. Mozart's sonata teems with things that were to come  later; and it speaks a subjective language."

The music of Béla Bartók strikes us like that of Liszt  and Berg, only in a different way, for he tried to define the linguistic  element in music even more concretely than his predecessors. Not only within  the confines of the Austro-Hungarian Empire but also after its collapse, he set  out in search of true folk music, the authentic language of human beings, and  made it the source of his inspiration. It appears in works such as the Romanian Folk  Dances not as an echo but as something direct and undistorted. At  the end of our musical journey to eastern Europe, we find ourselves listening  more closely than ever to the most immediate expression of people singing and  dancing, at the point where the expression of the subject is again subsumed by  the collective understanding.

Hélène Grimaud  was talking to Wilhelm Sinkovicz 9/2010

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