Benjamin Grosvenor via Matrix

The Birth of the Matrix →

No princípio...

Imagine uma rede em que, por alguma mágica fantástica, todos dentro tenderiam a poucos passos detectáveis de todos os outros... na rede e no planeta...

Imagine uma rede que seria mais sobre pessoas que você não conhece do que sobre pessoas que você conhece. E ainda mais importante: sobre pessoas que não o conhecem, mas cujas vidas seriam enriquecidas se o conhecessem...

Imagine uma rede que incluiria todos na economia criativa global da humanidade...

Você está imaginando O Matrix (Rede Online)!

Esse Matrix baiano foi fundado (com afeto!) numa questão fundamental: Como é possível fazer com que os músicos mais importantes historicamente do Brasil sejam descobertos por pessoas que vivem em qualquer lugar da Terra?

A resposta foi incluí-los num matrix no sentido original da palavra: “fonte”, de “mater”, latim para “mãe”...

...um matrix que também incluiria membros da economia criativa de todo o mundo: escritores e jornalistas, pintores, cineastas, coreógrafos, programadores de computador, designers de som e cenografia, designers de moda, matemáticos…

Por este meio, podemos pessoalmente alcançar profundamente a realidade da economia criativa global que está realmente lá fora: Roberto Mendes de Santo Amaro pode recomendar João do Boi de São Braz. Munir Hossn de Salvador, mas agora morando em Paris, pode recomendar Roberto Mendes. Alfredo Rodriguez de Havana, mas agora morando em Nova York, pode recomendar Munir Hossn. E Quincy Jones de Los Angeles pode recomendar Alfredo Rodriguez. Quem conhece Quincy Jones agora pode descobrir João do Boi (entre os músicos absolutamente mais fundamentais do Brasil) em apenas quatro passos.

Este não é um exemplo isolado. Caminhos curtos de apenas alguns passos entre pessoas criativas amplamente díspares são universais em todo o Matrix. Tal é o fantástico poder matemático do fenômeno do pequeno mundo, o fenômeno responsável pelos "seis graus de separação", unindo a maioria dos seres humanos à maioria dos outros em cerca de seis passos. Essa é a superpotência do Matrix baiano.

O Matrix baiano está aberta a todos da economia criativa global. Foi construído numa loja de discos no Centro Histórico de Salvador por um americano que trabalhou anteriormente em Nova York recuperando royalties não pagos para artistas como Aretha Franklin, Barbra Streisand, Led Zeppelin, Cat Stevens (Yusef Islam), Astrud Gilberto, Airto Moreira, Mongo Santamaria, Ray Barretto, o primeiro produtor de Bob Marley, Clement Dodd, o mestre de jazz Jim Hall e outros.

Agora o projeto é mostrar ao mundo o que é que a Bahia tem. Ao permitir que todos na economia criativa global também podem estender a mão ao redor do mundo e mostram ao mundo o que é que eles têm.

O Matrix é capaz de atingir profundamente... esta é a vila de São Braz, no Recôncavo baiano, criada por escravizados que escaparam para uma liberdade marginal...

In the beginning...

Imagine a network wherein by some fantastic magic everybody within would tend to within scant, discoverable steps of everybody else... in the network, and across the planet...

Imagine a network that would be more about people you don't know than people you do know. And even more importantly: about people who don't know you but whose lives would be enriched if they did...

Imagine a network which would include all in humanity's global creative economy...

You are imagining The Matrix (Online Network)!

This Bahian Matrix was founded (with love!) on a fundamental question: How is it possible to make Brazil’s most historically important musicians discoverable by people living anywhere around the Earth?

The answer was to include them in a matrix in the original sense of the word: “source”, from “mater”, Latin for “mother”...

...a matrix which would also include members of the creative economy from everywhere else: writers and journalists, painters, filmmakers, choreographers, computer programmers, sound and set designers, fashion designers, mathematicians…

By this means we can personally reach deeply into the reality of the global creative economy that is really out there: Roberto Mendes of Santo Amaro can recommend João do Boi of São Braz. Munir Hossn of Salvador but now living in Paris can recommend Roberto Mendes. Alfredo Rodriguez of Havana but now living in New York City can recommend Munir Hossn. And Quincy Jones of Los Angeles can recommend Alfredo Rodriguez. Anybody who knows Quincy Jones can now discover João do Boi (top photo; "John of the Ox" in English, the vastly important Son House of Brazil) in just four steps.

This is not an isolated example. Short pathways of just a few steps between widely disparate creative people are universal throughout the Matrix. Such is the fantastic mathematical power of the small world phenomenon, the phenomenon responsible for “six degrees of separation”, joining most human beings to most others within some six or so steps. This is the Bahian Matrix’s superpower.

The Bahian Matrix is open to all in the global creative economy. It was built in a record shop in Salvador’s Centro Histórico by an American who formerly worked in New York city retrieving unpaid royalties for artists including Aretha Franklin, Barbra Streisand, Led Zeppelin, Cat Stevens (Yusef Islam), Astrud Gilberto, Airto Moreira, Mongo Santamaria, Ray Barretto, Bob Marley’s first producer Clement Dodd, jazz great Jim Hall and others.

Now the project is to show the world o que é que a Bahia tem (what it is that Bahia has). By letting everybody in the global creative economy likewise reach out across the planet to connect as they wish and show the world what it is that they have too.

The Matrix is capable of reaching deeply...this is João's village of São Braz, in the Bahian Recôncavo, created by enslaved who'd escaped to a marginal freedom...

ALL IS CLOSER THAN WE IMAGINE
(Imagine Benjamin Grosvenor) I RECOMMEND
You can recommend Benjamin Grosvenor from below when logged in ←

CURATION

from this node by: Matrix+

This is the Universe of

Name: Benjamin Grosvenor
City/Place: London
Country: United Kingdom
Hometown: Westcliff-on-Sea, England

Life & Work

Bio: British pianist Benjamin Grosvenor is internationally recognised for his electrifying performances, distinctive sound and insightful interpretations. His virtuosic command over the most arduous technical complexities underpins the remarkable depth and understanding of his music making. Described as “one in a million...several million” by The Independent, his “astounding technical gifts, the freshness of his imagination, his intense concentration, the absence of any kind of show, and the unmistakable sense of poetic immersion directed solely at the realization of music” have been lauded by Süddeutsche Zeitung.

Benjamin first came to prominence as the outstanding winner of the Keyboard Final of the 2004 BBC Young Musician Competition at the age of eleven, and he was invited to perform with the BBC Symphony Orchestra at the First Night of the 2011 BBC Proms aged just nineteen. A pianist of widespread international acclaim, he was announced Artist-in-Residence at Radio France for the 2020-21 season, in which he holds the same title also with the Bournemouth Symphony Orchestra. In 2016, he became the inaugural recipient of The Ronnie and Lawrence Ackman Classical Piano Prize with the New York Philharmonic.

Recent and forthcoming concerto highlights include engagements with the Boston and Chicago Symphony Orchestras, The Philadelphia Orchestra, Gürzenich-Orchestra Cologne, the Orchestra of Komische Oper Berlin, Orchestre National de France, Orchestre Philharmonique de Radio France, Hallé Orchestra, Orquesta Nacional de España, Filarmonica della Scala, Prague Radio Symphony Orchestra, London Philharmonic Orchestra, and the London, Royal Scottish National, San Francisco, and Washington National Symphony Orchestras as well as a tour of China with Britten Sinfonia. Benjamin works with such esteemed conductors as Andrey Boreyko, Semyon Bychkov, Riccardo Chailly, Elim Chan, Sir Mark Elder, Edward Gardner, Manfred Honeck, Vladimir Jurowski, Cristian Măcelaru, Andrew Manze, Ludovic Morlot, Kent Nagano, Sir Roger Norrington, Gianandrea Noseda, Andrés Orozco-Estrada, François-Xavier Roth, Esa-Pekka Salonen, Leonard Slatkin, Nathalie Stutzmann, Michael Tilson Thomas, Krzysztof Urbański, and Kazuki Yamada.

In recital, Benjamin regularly performs at major venues such as London’s Barbican and Wigmore Halls as well as the Southbank Centre, Théâtre des Champs Elysées Paris, Munich’s Herkulessaal, Cologne’s Philharmonie, Palau de la Música Catalana Barcelona, Washington’s Kennedy Center, New York’s Carnegie Hall and 92nd Street Y. A keen chamber musician, the season sees Benjamin embark on a North American tour with the Doric String Quartet, perform duo concerts with violinist Hyeyoon Park, join musicians from the Orchestre Philharmonique de Radio France for a chamber concert, and perform at the Verbier Festival at Schloss Elmau and at Internationales Musikfestival Koblenz.

In 2011 Benjamin signed to Decca Classics, becoming the youngest British musician ever, and the first British pianist in almost 60 years, to sign to the label. His most recent CD on the label, his second concerto recording, features Frédéric Chopin’s piano concertos, recorded with the Royal Scottish National Orchestra under the baton of Elim Chan. Named Recording of the Month by Gramophone, the disc was also awarded a Diapason d'Or, with Diapason's critic declaring that the recording is “a version to rank among the best, and confirmation of an extraordinary artist.”

During his sensational career to date, Benjamin has received Gramophone’s Young Artist of the Year and Instrumental Awards, a Classic Brits Critics’ Award, UK Critics’ Circle Award for Exceptional Young Talent and a Diapason d’Or Jeune Talent Award. He has been featured in two BBC television documentaries, BBC Breakfast and The Andrew Marr Show, as well as in CNN’s Human to Hero series.

The youngest of five brothers, Benjamin began playing the piano aged 6. He studied at the Royal Academy of Music with Christopher Elton and Daniel-Ben Pienaar, where he graduated in 2012 with the ‘Queen’s Commendation for Excellence’ and in 2016 was awarded a Fellowship from the institution. Benjamin has been supported since 2013 by EFG International, the widely respected global private banking group.

Contact Information

Management/Booking: General Management
James Brown
James Brown Management
[email protected]
Sophie Tiezel
James Brown Management
[email protected]

Local Management
USA
Bill Capone
Arts Management Group
[email protected]
+1 212 337 0838
Italy
Lorenzo Baldrighi
Lorenzo Baldrighi Artist Management
[email protected]
+39 039 928 1416
Spain
Enrique Rubio
I Musica
[email protected]
+31 91 506 15 31
France
Véronique Jourdain
Véronique Jourdain Artists Management
[email protected]
+33 1 83 62 18 64
+33 1 83 62 16 59
Japan
Chikako Itagaki
Novellette Artists Management
[email protected]
+81 (0)90 4168 2866

Public Relations
Artium Media Relations
Damaris Brown
[email protected]
+44 7900 684 720
Record Company: Decca

Media | Markets

▶ Buy My Music: (downloads/CDs/DVDs) http://www.benjamingrosvenor.co.uk/recordings
▶ Twitter: grosvenorpiano
▶ Instagram: grosvenorpiano
▶ Website: http://www.benjamingrosvenor.co.uk
▶ YouTube Channel: http://www.youtube.com/channel/UCuM1r9XZFz_DamU6neXZQVQ
▶ YouTube Music: http://music.youtube.com/channel/UCuM1r9XZFz_DamU6neXZQVQ
▶ Spotify: http://open.spotify.com/album/5MyejkHGSoo5IfTum4VMiw
▶ Spotify 2: http://open.spotify.com/album/3hFTO4FkWbD6SD0ekUY5f1
▶ Spotify 3: http://open.spotify.com/album/6czvXIzY7s7XwttsVTwCnQ
▶ Spotify 4: http://open.spotify.com/album/23b823kgqAX85A3LsqbXIu
▶ Spotify 5: http://open.spotify.com/album/6ogDqjMSnU6dYdEvXT9jEk
▶ Spotify 6: http://open.spotify.com/album/1QuVSHjRedVvdbytWwKIfo

Quotes, Notes & Etc. “Benjamin Grosvenor effortlessly progressed from expressive to elegiac to feisty, the “tonalities” corresponding to the Chopin concerto’s three movements. Especially in the Romanze – Larghetto, Grosvenor’s floating legato simply made listeners ignore any mechanical aspects of piano playing. Vanquishing technical difficulties was not an act of bravado, but one of basking in modesty. Thunderclaps were draped in velvet. There was never any hint of over-sentimentality.”
- Bachtrack, December 2020

“Grosvenor was sublime and spellbinding with Chopin’s epic Concerto ... Grosvenor received rapturous applause ... members of the audience knew they had been immensely privileged to share the experience."
- Bournemouth Echo, December 2020

“[In Rachmaninov Piano Concerto No.2] Conductor and soloist share a grandiose, lyrical, sensitive but never sentimental vision, with Brahmsian reflections … the impeccable arched construction of the second of Ginastera's Argentinian Dances reveals an expressive universe very different from that of Martha Argerich.”
- Diapason, November 2020

“Together with the great young British pianist Benjamin Grosvenor, Hyeyoon Park forms a world class duo. This was clear in Szymanowski's "Myths from 1915" whose richness of colour and refined melodies require not only limitless sensitivity, but also narrative creative power ... Then a spirited performance of César Franck's A major sonata, in which the finale was particularly intoxicating. Two encores, a Hungarian dance which set sparks flying, and Schumann's evening song: gentle and simple. Hyeyoon Park and Benjamin Grosvenor are a major event.”
- Sueddeutsche Zeitung, October 2020

“Simple and modest in appearance, both focused on his keyboard and attentive to his colleagues in the orchestra, the virtuoso appeared natural and at ease in Rachmaninov’s formidable 2nd Concerto. It would take a whole dictionary of oxymorons to list the qualities of his game: natural and controlled, loose and deep, powerful and refined, synthetic and detailed.”
- La Croix, September 2020

“The princely speech, the authority, the eloquence as imperious as it is elegant, the immaculate playing of the British pianist are worthy of the composer himself as of Benno Moiseiwitsch … His virtuosity, his pianistic art, his almost Puritan expression, warm but without the slightest sentimentality; he responds to a committed and impeccable orchestra, led by a conductor who knows how to listen and respond, dialogue.”
- Bachtrack, September 2020

“… a masterful performance of Rachmaninov's Piano Concerto No. 2 … Conductor and soloist share a grandiose, lyrical, sensitive but never sentimental vision, with Brahmsian reflections. The brilliant British pianist delivered a reading of impressive height and nobility, powerful without being supported, and delved into detail (breaths, contrasts, articulations). His way of sculpting each phrase irresistibly evokes the simplicity of Rachmaninov himself."
- Diapason, September 2020

"Attentive to the overall coherence, turning frequently to the orchestra, and showing an unfailing speed, the British pianist left his mark on this concert … [Măcelaru] offered direction without pomposity, and conveyed nuances with sensitivity. The third movement confirmed the synergy between the protagonists, Grosvenor forming one body with the Orchestre national de France until the final, triumphant coda.”
- Classic Agenda, September 2020

“…in this brilliantly energised performance led by Benjamin Grosvenor on piano and the equally virtuosic Jason Evans on trumpet, everything — the anger, the neurotic drive, the bleakness at the heart of the middle movement — seemed to make a kind of sense, even if it was the surreal logic of a nightmare. Grosvenor brought to the party exactly the right sort of steely-toned power, especially in the final cadenza, executed at breakneck speed, while Evans’s intervention in the middle movement was almost bluesy in its projection of loneliness.”
- The Times, September 2020

“Järvi was blessed with a star soloist for the evening’s concerto in the shape of Benjamin Grosvenor arriving at the keyboard for Shostakovich’s Concerto for piano, trumpet and strings, supported by Jason Evans, the Philharmonia’s principal trumpet, making his Proms debut. I have to stop thinking about Grosvenor as a “young artist”; for several years now, he’s just reached the stage of being a top class musician, irrespective of age … Grosvenor was able to sound gorgeously lyrical and impassioned in the slow second movement but flip in a heartbeat to impish humour or powerful angst, Järvi sculpting the orchestral sound around him and Evans contributing the muted trumpet’s distant complain”
- Bachtrack, September 2020

“Benjamin Grosvenor flew through the difficulties of the fast music. He has a high, active finger action and bold sound, relishing the restless, almost manic good humour of the first movement”
- The Arts Desk, September 2020

“... there was no denying the pianist’s fastidiousness or his shapely phrasing especially during slow(er) music. The Finale, with its humorous diversions and silent-film-music elements, brought some dazzling responses”
- Classical Source, September 2020

“Grosvenor’s handling of the cadenza was a high-octane, virtuoso tour de force as we saw his fingers traversing the keys at dizzying speed. Piano, trumpet and strings combined one final time in the uproarious coda, driving the work to its thrilling conclusion.”
- Seen and Heard, September 2020

“No empty hall could sound more still than it did as Hyeyoon Park and Benjamin Grosvenor spun Szymanowski’s gossamer musical fabric in the third movement. Such impressionistic music depends hugely on the quality of its surface and in this performance it was practically flawless. Grosvenor’s touch was astonishingly responsive – as supple in quiet, single-handed lyricism as in flurries of quicksilver virtuosity – while Park made stylish use throughout of portamento and her irrepressibly expressive vibrato ... César Franck’s Violin Sonata – the second half of the programme – was a simultaneous showcase of Park’s huge palette of tone colours and of Grosvenor’s ability to conjure clarity from the densest of textures ... After so much impassioned virtuosity, Schumann’s Abendlied Op 85 No 12 appeared stark in its simplicity. Yet it was here that Park and Grosvenor’s musical partnership achieved its most touching intimacy.”
- The Guardian, June 2020

“[In] the deft young hands of Hyeyoon Park and Benjamin Grosvenor [César Franck’s Sonata’s] candid lyricism sounded newly minted … The opening Allegretto ben moderato felt light and airy, with a hint of flexibility in the tempo … [the third movement] benefited from Park and Grosvenor’s careful shaping of the music’s restless unthreading and made way naturally for their energised account of the bustling finale … [Szymanowski Myths Op. 30] In Narcisse, Grosvenor’s piano part rocked dreamily on its haunches while Park’s violin gazed in rapture at its own reflection. It’s a long movement but the music’s thread never broke ... [Schumann’s Abendlied] was a tribute to the strength of Park and Grosvenor’s musical partnership; they shared its gentle romance with control, eloquence and a loving interlace of violin and piano that could hardly be bettered.”
- Bachtrack, June 2020

“Park and Grosvenor are as well suited to one another as to their choice of repertoire, their duo wholly and apparently effortlessly in sympathy. The Szymanowski - three pieces written during World War I, in which the composer is alternately at his most sensual and occasionally his most irritating - gave Park the chance to shine in a range of iridescent colours. Her refinement of tone in "The Fountain of Arethusa" blossomed out into a rainbowed intensity, and the piping effects in "Dryads and Pan'" which are treacherous high harmonics, were flawlessly projected. At the piano Grosvenor made light and supple work of Szymanowski’s complex writing."
- The Arts Desk, June 2020

“Chamber music at its finest, the instruments carefully and perfectly blended, holding the audience to a compelling silence … Rarely can [Richard Strauss Piano Quartet] have enjoyed such a committed, compelling performance as Grosvenor and friends delivered … it was the calibration of the performance that impressed the most, the balance between the instruments a thing of wonder, the long melody in octaves strong and impassioned … Grosvenor’s fleetness of finger was incredibly impressive, while Strauss’s use of gesture to effect a return to the scherzo was beautifully honoured in musicianly fashion … a Finale shot through with the perfect balance of rhythmic impulse and lyricism rounded the evening off perfectly, Grosvenor’s staccato perfectly weighted throughout."
- Seen and Heard International, February 2020

“The four performers, who have recently been touring together, are soaring individually towards the top of their game. None is older than 28, but their award-studded CVs are all as long as Benjamin Grosvenor’s concert grand … Putting four top soloists together is not always a recipe for triumph, but the collegial atmosphere within this ensemble was further proof of their musical intelligence. All of them settled happily into the conversational requirements of chamber music and the group unity of thought and expression … [Hyeyoon] Park’s seemingly effortless virtuosity and natural charisma ideally matches Grosvenor’s humming-bird fleet fingers and minutely-attuned ear for sonic balance. It was notable that in a programme with heavy-duty piano parts by composers some of whom were more at home writing for a hundred-piece orchestra, Grosvenor never overstepped the mark, instead blending with, supporting and showing off his splendid colleagues to just the right degree … an encore of the "Rondo alla Zingarese" from the G minor Piano Quartet, in which they had got it, and flaunted it at high speed, brought the house down. With these four around, no amount of notes would be too much.”
- The Arts Desk, February 2020

"… soloist Benjamin Grosvenor played the concerto with solid melodic instincts and a keen appreciation for how the spaces between notes can inform a piece’s personality as much as what’s on the printed page. The young Brit is not an especially flashy performer, nor did he need to be: every so often he would pound the keys with relish, but overall his understated style served the rich, dark melodies well.

An equal partner with the orchestra throughout most of the work, Grosvenor at last pulled ahead in the closing moments by transforming Schumann’s already-jovial theme into something marvelous.”
- Houston Chronicle, February 2020

"... guest soloist Benjamin Grosvenor gave such a brilliant account of Mozart’s E-flat Major Piano Concerto, K. 271, that I came close to elation in Copley Symphony Hall.

From the outset, the young British pianist exhibited crisp, sparkling articulation and suave dynamic shadings that both enlivened and refreshed this familiar showpiece.

Grosvenor displayed immaculate scales and flourishes at thrilling tempos, but the way he shaped these passages, along with his insouciant rubatos and adroit dynamic shadings, drew his listeners into his alert and elegantly detailed interpretation."
- San Diego Story, February 2020

Clips (more may be added)

5:32
Benjamin Grosvenor - Liszt: Ave Maria, S. 558 (after Schubert, D. 839)
By Benjamin Grosvenor

88 views
0:33:43
Rachmaninov : Concerto pour piano n°2 (Benjamin Grosvenor)
By Benjamin Grosvenor

141 views

Do you recommend Benjamin Grosvenor?

Imagine the world's creative economy at your fingertips. Imagine 10 doors side-by-side. Beyond each, 10 more, each opening to a "creative" somewhere around the planet. After passing through 8 such doorways you will have followed 1 pathway out of 100 million possible (2 sets of doorways yield 10 x 10 = 100 pathways). This is a simplified version of the metamathematics that makes it possible to reach anybody in the global creative economy in just a few steps. It doesn't mean that everybody will be reached by everybody. It does mean that everybody can be reached by everybody.