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" ... The Webern Variations op.27 that separate (or join) these two amazing, grandly pianistic works of the early 20th century are like a case of musical impressionism; lightly scattered dots and daubs of color. Abstract and condensed, there is a certain vague, wholly non-intellectual, rather naïve fascination I can take away from some of Webern’s work, sometimes. But anyone who doesn’t find austere Webern quite to his or her taste, will be able to revel in the uncompromising brevity of these miniatures before being put down at the feet of Berg’s Sonata which concludes the recital. The liner notes read like they were written by a musicologist – that’s meant to sting. ... "
" ... The first half of the program began with works by Berio and Takemitsu, both important composers of the last fifty years. It also included stalwarts of the piano repertoire by Lizst, Debussy and Ravel intermingled with rarely-heard treasures by Albeniz, Faure and Janacek. The common theme tying this all together was water, as all the works were based upon water in some fashion. The works were performed without pauses between them: I believe this was done to avoid breaks in the thematic aquatic flow of the works that would be caused by applause. Ms. Grimaud performed with her usual pianistic mastery, but it was the mesmerizing artistry and musicianship she brought to the performance that was enchanting. She communicated the composers' aquatic themes in a prayer-like manner. Even the lighting for the evening contributed to this: the theater was virtually blacked-out with a spot light shining down only on the performer on stage, focusing the energy of the hall exclusively on the performance and the artist. ... "