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READ NEW YORK TIMES and MUSICAL AMERICA REVIEWS 2010
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REVIEWS in English translation
«...This young Italian pianist with very refined
sensibility offered us an interpretation of two Debussy’s Préludes ... in which his touch worked wonders ...» (Le
Figaro, 2/6/1996)
«...It is surprising to listen to a pianism that is
surely virtuoso, but also so deep and generous. He’s certainly cerebral, but
his playing reveals a true musical sensibility.» (La lettre du musicien:
musiques, Nov. 1998)
«...To
begin a recital by Stockhausen’s Klavierstück XI and to end it by Schumann’s
Symphonic Etudes is a proof of a certain boldness ... The demonstration was
probative. Between Stockhausen and Schumann Busoni assured a transition of
dazzling evidence. Wonderful sound, masterly nuances revealing the intelligence
of the artist who knows the deep meaning of the works and highlights their
architecture: these qualities are typical of an extraordinary interpreter.» (Le Monde de la Musique, n. 227, Déc. 1998 – CD Busoni:
“CHOC” du mois.
«...This
virtuoso pianist claims everyone’s attention especially for the variety of his
timbre, the concentration of his playing and his way to highlight the musical
architectures – this last quality was particularly perceptible in Schumann’s
Symphonic Etudes.» (Paris 17/10/1998 AFP YB/dpn)
«...Certainly
not all pianists can master the monumental Beethoven’s “Hammerklavier” Sonata
op. 106 and exalt its majesty, its depth, its poetry, like Fabio Grasso...»
(Nice matin, 28/10/1996)
« … With its subtle language, its wise dissonances, its misty low tones
and its high – sometimes striking notes, its skilful nuances in the resonances,
Fabio Grasso’s La danza segreta di Maeve is surely a contemporary page of great
worth! … In Schumann’s Carnaval Fabio Grasso reveals himself as an
all-round artist, who excellently exalts the colourfulness of this piece, but
is also careful to its inmost confessions. From a continuous, refined work on
the nuances, the atmospheres and the contrasts arises an interpretation that is
always charming!» (Les dernières nouvelles d’Alsace, 13/7/2000)
«… The sound of Fabio Grasso becomes water, air,
light, pure colour in a cognitive tension towards the Absolute … The first
performance of his piece Blumentraum was particularly suggestive: the oneiric
reflections, inspired by Jean Paul and Schumann’s poetics, create a personal
world where some expressionist echoes, as well as Freudian intuitions and
reminiscences of the impressionistic symbplism
blend giving rise to a suspended sound, without gravitational centres,
and animated by sudden, everchanging, vibrating motions» (Il Gazzettino di
Venezia, 4/7/2006).
«… In this spectacular coupling of Beethoven’s
Diabelli Variations and Sonata op. 106 in the same concert, Fabio Grasso
confirmed his interpretative mastery, sense of construction, depth of approach,
especially in the long Adagio of the op. 106 … at the end of the monumental
concert, while playing Liszt’s Impromptu in F sharp and Chopin’s Etude op. 25
n. 1 as encores, he showed such an intact clearness of mind and athletic
strength, that he seemed to be able to continue proposing Liszt’s B minor
Sonata …» (Alberto Albertazzi, Corriere Eusebiano, 10/12/2011).
« … Fabio Grasso has given off the breathe of Spirit,
the force of wind in his Fantasia Veni Creator Spiritus. The premiere is
related to the spirituality, linking Heaven and Earth, and the artist is the
magnificente interpreter of this middle space; the emotion overcomes us,
plucking at our heartstrings. The music is sometimes tender and deep, sometimes
violent, like from threatening skies, with impressionistic colours thet create
an original palette, rich of harmonic experimentation.» (Jean Kowalski, La
République du Centre, Orléans, 24/02/2012)
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