Music / Benjamin Grosvenor, pianist. At Snow Concert Hall. October 16. Reviewed by ROB KENNEDY.

Britain’s star pianist Benjamin Grosvenor brought a program of monumental works to Canberra’s Snow Concert Hall and, with his unmistakable blend of refinement and fire, left the audience spellbound.

In 2021, Grosvenor became the youngest British musician and the first pianist in six decades to sign with Decca Classics. Honoured with Gramophone’s Young Artist of the Year, a Classical Brit Critics’ Award, and other awards, he is among the most acclaimed pianists of his generation.

Beginning with Chopin’s Sonata No. 2, Grosvenor immediately showed his accomplished style and ability to recall music. He did not need sheet music at all during the whole concert.

His attack of this fiery piece remained relentless throughout. His dynamics were forthright and delicate when required. Passion and enthusiasm ooze from his fingers. He is a close watcher of the keyboard, aiming to get everything to perfection.

When the music falls quiet, he moved closer in, transferring that subtlety of the dynamic through his body into his hands, like someone paying close attention to a loved one. It was intimate.

The funeral march was at the perfect pace and tension. This may be the most reflective piece of piano music ever written. It is transformative and full of remembrance. The rapid final section with its hundreds of notes was greeted with extended applause.

With a change of seat required, it slid down during the Chopin, the Ravel Gaspard de la nuit followed, which is an almost contemporary work inspired by poems. The music followed these diabolical poems through a devilishly tricky technique that is required.

As with all of Ravel’s works, this is highly coloured music that stands out for its depth and complexity. With Grosvenor’s hands sliding over and under each other, he made it look and sound seamless. This made for an exciting middle work. It was so orchestral, so inventive.

After the break, Mussorgsky’s Pictures at an Exhibition fittingly followed the Ravel. As it was Ravel who gave us that incredible orchestral version of the Pictures.

Most interestingly, Grosvenor gave an introduction to each section of the Pictures. He explained their meaning and played prominent snippets of each.

This pragmatic Russian music is like only a handful of pieces; it takes a listener on a profound journey. The recurring Promenade connects each section and gels the music into a 35-minute exploration filled with pictorial and aural splendour.

This performance, by a musical superstar of a generation, was something to behold in our small capital. With his craft, depth of knowledge and personable style, he will surely conquer the music world. The standing ovation led to another flowing work by Ravel, his Jeux d’eau.