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Classical - Released January 1, 2014 | Decca Music Group Ltd.

Hi-Res Booklet Distinctions Diapason d'or de l'année - Diapason d'or - Gramophone Record of the Month - Le Choix de France Musique - Exceptional Sound Recording
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Film Soundtracks - Released January 1, 2011 | Decca Music Group Ltd.

Hi-Res Booklet Distinctions Diapason d'or de l'année - Diapason d'or - Gramophone Editor's Choice - Hi-Res Audio
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Classical - Released September 1, 2016 | Decca Music Group Ltd.

Hi-Res Booklet Distinctions Diapason d'or - Le Choix de France Musique - 4 étoiles Classica
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Classical - Released January 1, 2013 | Decca Music Group Ltd.

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Following the success of his first Decca release of solo piano music by Chopin, Liszt, and Ravel, Benjamin Grosvenor demonstrates his aptitude in the concerto repertoire on his second CD, Rhapsody in Blue, recorded with James Judd and the Royal Liverpool Philharmonic Orchestra. This is a refreshing change from the usual Tchaikovsky or Rachmaninov concertos one hears from young artists eager to impress, and Grosvenor is clever enough to play not only engaging concertos by Saint-Saëns, Ravel, and Gershwin, but to toss in short bon-bons by these composers to sweeten the program. Grosvenor has sometimes described as a Romantic pianist, which suggests anything from excessive sentimentality to headstrong individualism, but this is something of an exaggeration. It is true that Grosvenor has the passion and expressive grandeur for music of the period, notably displayed in Saint-Saëns' grandiose Piano Concerto No. 2 in G minor, but he also possesses a modern sensibility that is ideal for the lighter textures and piquant expressions found in Ravel's effervescent Piano Concerto in G major and Gershwin's insouciant Rhapsody in Blue (performed here in the original jazz band version arranged by Ferde Grofé). Grosvenor is much more rounded in his tastes and abilities than may be apparent from reviews, but given time, his judgment in programming will be as obvious as his prodigious skills at the keyboard. Decca's reproduction is close-up and vivid, so the piano has real presence, and its volume almost eclipses the orchestra at times. © TiVo
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Classical - Released February 21, 2020 | Decca Music Group Ltd.

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The unconventional character that is Benjamin Grosvenor delivers us a very personal version of these two essential works of the piano repertoire. The first Brit to have signed an exclusive contract with Decca Classics in sixty years, he first made his name in 2004 when he won the Keyboard section of BBC Young Musician of the Year, thus throwing the doors open to an international career. Produced alongside the talented young conductor from Hong Kong Elim Chan, the musical director of the Royal Scottish National Orchestra, this new album dedicated to Chopin revisits the young British prodigy’s first musical loves. It was following a very successful concert with Elim Chan that they decided to record the Piano concertos by Chopin together. In this fifth album (for Decca), it’s Grosvenor’s virtuosity and ability to make the instrument sing that allow him to fully express his favourite music. “Chopin was the first composer to whom I felt a strong connection to as a child. I have always been drawn to his music, and his piano concertos are among some of the finest in the repertoire”, he says. Other than his already legendary sound and the expert way he strikes a balance between the different acoustic levels, his vision underlines the dreamy romanticism that delicately envelops the two concertos by the then-20-year-old Polish composer. © François Hudry/Qobuz
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Classical - Released February 21, 2020 | Decca Music Group Ltd.

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Classical - Released September 1, 2016 | Decca Music Group Ltd.

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Pianist Benjamin Grosvenor, 24 years old when this album appeared in 2016, has made a splash with his seemingly effortless technical mastery and his ability to put across a feeling of suppressed energy. There are many technical difficulties in these Romantic showpieces, but Grosvenor lets them roll off his fingers without raising the temperature much until the end, in the Liszt Tarantella from the Venezia e Napoli (Venice and Naples) set of Années de pèlerinage. It's an impressive display of control, said to be matched by considerable charisma in live performance. The program, which might have been played a century ago, is almost refreshing for that reason, but it's not totally coherent: the first three "Homages" are to Bach, while the last two are not homages to a person, but to cities, and to a pair of them at that. Still, the individual pieces work well on their own terms. César Franck's Prélude, Choral, et Fugue, FWV 21, benefits greatly from Grosvenor's ability to suggest currents of passion beneath the surface, and the Mendelssohn set of Six Preludes and Fugues, Op. 35, are sharply characterized and infused with an unusual degree of contrast for the collection, which often suffers from over-academic performances. This release showcases a young pianist with the potential to become a star in the time-honored Romantic virtuoso mold. © TiVo
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Classical - Released January 1, 2012 | Decca Music Group Ltd.

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