Orchestre metropolitan helene grimaud biography

See our Privacy policy. Subscribe to our newsletter. Preferences Reject Allow all. She obtained a license to raise British Columbian wolves--Apache, Lila, and Lucas--at her farm, a getaway where she could also practice by night and take time for herself between concerts. In summerGrimaud was the subject of a television documentary filmed in New York.

She explained her rejection for measured French technique, "I always feel like I'm walking on eggshells, that I'm playing it too heavily or perhaps not 'impressionistically' enough. Grimaud's intensity, risk-taking, and self-control accentuate all of her endeavors, including a campaign at the New York Wolf Conservation Center that she initiated to combat animal stereotyping.

At the beginning of the twenty-first century, she broke new ground by debuting with the New York Philharmonic, Boston Symphony, and Philadelphia Orchestra, and she toured the Czech Republic. In this same period, she ended her alliance with the Erato label and agreed to record one disc per year for Teldec, beginning with Brahms solos. Grimaud limited her income by channeling most of her money into animal conservation.

After practicing for years on an out-of-tune, year-old Yamaha upright, she earmarked one sum for a Yamaha grand with action heavy enough to suit her tempestuous, athletic style. Testing the instrument's legato with choice Chopin works, she exulted in the Yamaha's warmth, range, and weight. Of her expenditure of self and talent to the musical world, Grimaud confided to Bernard Jacobsen, critic-interviewer for Fanfare magazine: "The more you grow, the more difficult you realize it all is, the more risky you realize it all is, and I think the more humbling it is.

Orchestre metropolitan helene grimaud biography

Selected discography Rachmaninoff--Piano Sonate No. Chopin--Ballade No. Die intensive Hingabe, mit der sie sich ihrer musikalischen Arbeit widmet, hat ein Pendant in der Breite und Tiefe ihres Interesses an Umweltschutz, Literatur und Kunst. Das Album Memory kam heraus. Im Anschluss befasste sie sich mit Silvestrovs Vokalmusik. For Clara erscheint im September Dies war der Beginn von Grimauds glanzvoller Karriere.

She tours extensively as a soloist and recitalist. Grimaud has been an exclusive Deutsche Grammophon artist since Her next release, Duorecorded with cellist Sol Gabettawon the Echo Klassik Award for "chamber recording of the year", and her album of the two Brahms piano concertos, the First recorded with Andris Nelsons and the Bavarian Radio Symphony Orchestrathe Second with Nelsons and the Vienna Philharmonicappeared in September This was followed by Water Januarya live recording of performances from tears become… streams become…[ 10 ] [ 11 ] the critically-acclaimed large-scale immersive installation at New York's Park Avenue Armory created by Turner Prize -winning artist Douglas Gordon in collaboration with Grimaud.

Grimaud's next album, Memorywas released in September Exploring music's ability to bring the past back to life, it comprises a selection of evanescent miniatures by ChopinDebussySatie and Valentin Silvestrov which, in the pianist's own words, "conjure atmospheres of fragile reflection, a mirage of what was — or what could have been". For her recording, The MessengerGrimaud has created an intriguing dialogue between Silvestrov and Mozart.

Completing the programme are Mozart's Fantasias K and K The Messenger was released on 2 October Joined by the young baritone Konstantin Krimmelwinner of the International Helmut Deutsch Lied Competition, Grimaud presents the gentle music and quiet nostalgia of some of the most exquisitely beautiful poetry ever written. The film is produced in partnership with Deutsche Grammophon and is awarded at several film festivals worldwide.

Critics have praised Grimaud's willingness to reinterpret works and take chances, and compared her to Glenn Gould :. Grimaud doesn't sound like most pianists: she is a rubato artist, a reinventor of phrasings, a taker of chances. She admires the "more extreme players. Brian Levine, the executive director of the Glenn Gould Foundationsees in Grimaud a resemblance to Gould: "She has this willingness to take a piece of music apart and free herself from the general body of practice that has grown up around it.

Inat age 21, Grimaud moved to Tallahassee, Florida. After some time spent in Berlinshe took up residence in Weggisnear LuzernSwitzerland. She has a passion for wolves and wolf conservation. On Denon [A]. On Deutsche Grammophon.