Our times maybe troubled, deeply troubled, but thank goodness we can still gain pleasure and solace from music – and Daniel Grimwood‘s recently-released disc of piano music by Adolph von Henselt offers over an hour of unalloyed bliss.

If you didn’t know the name of the composer beforehand – and many may not – the opening notes of the first track might have you confidently exclaiming “oh it’s Chopin!”. There’s the same ominous tread in the opening as Chopin’s Op 49 Fantasie. And then you might think “it’s Liszt!” on hearing the tumbling virtuosic passages which sparkle under the lightness and precision of Daniel Grimwood’s touch.

Other works recall the bittersweet lyricism of Schubert or look forward to the richer textures of Brahms and Tchaikovsky. But this is Adolph Von Henselt, a little known Bavarian-born composer whom Grimwood champions.

Organised in the manner of an old-fashioned recital disc, there is much to savour and enjoy in the variety of works explored here. Virtuosic concert pieces sit comfortably alongside elegant miniatures, offering the listener a broad flavour of Henselt’s style and oeuvre. The Nocturnes, Impromptus and Études prove Henselt was every bit a master of these genres as his contemporaries Chopin and Liszt – and he made similar technical and interpretative demands on the pianist too. There are passages of vertiginous virtuosity which appear sweeping and effortless rather than merely showy with Daniel’s acute sense of the scale and pacing of this music. It’s lushly expressive but Daniel’s clarity and delicacy means it is never cloying or too heavily perfumed.

This disc would go into my “lateral listening” recommendations: if you love Chopin, I guarantee you’ll love Henselt just as much.

This is the second of Daniel’s recordings for the Edition Peters label and it has delightful cover artwork by Janet Lynch and comprehensive liner notes. As Daniel himself says of this disc: “It’s my small way of restoring Henselt…..to his rightful place in the repertoire

Highly recommended

I was expecting to hear a friend of mine, Charles Tebbs, perform Bach’s ‘Goldberg Variations’ at the delightful Sutton House Music Society on Sunday evening, but sadly Charles was unwell. A frantic call for a replacement went out on Facebook, which I happened to see and respond to. I am not suggesting for one moment that I “saved” the concert, but serendipitously, Daniel Grimwood whom I suggested as a replacement, was available and stood in at very short notice to perform an all-Bach programme. It is a mark of Daniel’s professionalism that he betrayed not an ounce of unpreparedness. He introduced the programme engagingly, highlighting various aspects of the music and describing the first half of the programme (Bach’s Italian Concerto and the fifth French Suite in G) as being “the jolly music”.

The Italian Concerto was indeed jolly, with precise yet sprightly passagework, crisp articulation and nuanced voicing. Daniel also plays the harpsichord and this is evident in his sensitive touch and terraced dynamics. The middle movement had a sombre grandeur, with an elegantly-turned improvisatory melodic line floating atop the bass. The closing movement poured forth like an exuberant mountain stream, rich in orchestral textures and vibrant contrasts.

More of the same in the Fifth French Suite, whose Sarabande shares the same soundworld as the Aria from the Goldberg Variations, and which Daniel played with grace and delicacy. Other notable features were the most charming and spontaneous ornaments in the repeated sections of the movements. The closing Gigue had the necessary forward propulsion, a dancing column of energy running through the entire movement.

After the interval, the Sixth Partita in sombre E minor. This, as Daniel explained, is Bach’s nearest equivalent for the keyboard to the St John Passion or the B-minor Mass, and is a work of great seriousness, mystery and profound musical thought. The opening Toccata begins with a dramatic “rocket” figure, a rising arpeggio flourish which colours the first section before the music moves into a darkly dramatic four-part fugue. All the movements display vocal textures, particularly the closing Gigue, whose rhythmic anomalies Daniel demonstrated in his introduction. This was an authoritative, thoughtful and vibrant performance, providing a wonderful contrast to the more positive music of the first half.

Sutton House Music Society is based at Sutton House in Hackney, east London, which is owned by the National Trust. Built in 1535, the house holds a fascinating juxtaposition of oak-panelled Tudor rooms, Jacobean wall paintings and Georgian and Victorian interiors, and audience members can enjoy a tour of the houseahead of a concert. The music society attracts both established and up-and-coming artists, performing a wide variety of repertoire, and the 2014/15 season concludes with a concert by the Roskell Piano Trio in music by Mozart, Shostakovich and Schumann. Concerts take place in Wenlock Barn, an early 20th-century addition which was built specially for events such as concerts.

Further information about the concert and the Society here

Meet the Artist……Daniel Grimwood

British concert pianist Daniel Grimwood is fundraising to save this historic piano, an 1850s Erard, similar to the type and make of piano Chopin, Liszt, Clara Schumann and others would have known and performed on.

Here Daniel explains why this piano is important in the study, understanding and performance of mid-nineteenth century piano music:

These instruments offer an unclouded sonority, separation of register and clarity which enliven music of the 19th Century in a magical way. Hearing music performed on the instruments for which it was written is always illuminating; it opens up aspects of a score which can often seem nonsensical on modern pianos.

See Daniel talk about and perform Liszt on a similar instrument:

Daniel is fundraising via Kickstarter. You can read all about the project, watch a video presentation and make a pledge by visiting his Kickstarter page.

Please consider supporting this interesting and worthwhile project. Historic pianos like this Erard can teach us a great deal about how music was composed and performed. They are also beautiful pieces of furniture in their own right.

Meet the Artist……Daniel Grimwood