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Review | British pianist Benjamin Grosvenor’s ‘Chopin and Liszt’ recital in Hong Kong brings the house down

  • Acclaimed pianist Benjamin Grosvenor gave a tour de force of his technical arsenal performing works by Franz Liszt and Frederic Chopin at Hong Kong City Hall
  • Warm, eerie and tenderly touching in turn, the young Briton’s playing gave the audience little time to catch their breath as he went quickly from piece to piece

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British pianist Benjamin Grosvenor performs his “Chopin and Liszt” recital at the Hong Kong City Hall on September 29, 2023. Photo: Kenny Cheung/Premiere Performances of Hong Kong

When a recital programme includes two fiendishly demanding piano sonatas, you can expect the soloist to both have the technical chops and the musical stamina to pull it off.

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In a refreshingly unshowy, fuss-free manner, acclaimed British pianist Benjamin Grosvenor did just that and more at Hong Kong City Hall in Central on Hong Kong Island, bringing the full house down in Friday’s Premiere Performances concert of Hungarian composer Franz Liszt and Polish composer Frederic Chopin.

Chopin spared the usual clichéd imagery of swaying Venetian gondolas in his Barcarolle in F sharp major, literally a “rowing boat song”, which he composed in ill health, just some three years before his death.

Grosvenor nonetheless conjured much warmth and wistfulness in the early undulations, and as soon as the writing increased in restlessness and floridity, the Royal Academy of Music graduate showed tremendous skill in spinning intertwining lines of ornamentation as effortlessly as could be and with plenty of bel canto operatic flair to boot.

Grosvenor captivated with eerie takes on the early motifs in Liszt’s all-encompassing “Piano Sonata in B minor”. Photo: Kenny Cheung/Premiere Performances of Hong Kong
Grosvenor captivated with eerie takes on the early motifs in Liszt’s all-encompassing “Piano Sonata in B minor”. Photo: Kenny Cheung/Premiere Performances of Hong Kong

Another hallmark of the 31-year-old pianist’s playing was the consistently thoughtful weighting and release of chords. This was no more evident than in Liszt’s all-encompassing Piano Sonata in B minor, where four movements are rolled into one compact yet highly demanding composition.

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