DG Stage: Hélène Grimaud and the Dallas Symphony Orchestra / Jan 29

DG Live

Hélène Grimaud joins the Dallas Symphony Orchestra and conductor Nicholas McGegan as soloist in Mozart’s Piano Concerto No.20 in D minor, which she recorded recently for her DG album ‘The Messenger’. With its dramatic nature, this concerto anticipates the turbulence of Romanticism. So too does the second work on the programme, his Symphony No.40 in G minor – available on DG Stage on January 29th.

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Radio Classique’s Trophée de la semaine for “The Messenger”

Hélène Grimaud’s new album “The Messenger” receives Radio Classique’s “Trophée de la semaine” award!

Hélène Grimaud, messagère d’harmonie – Radio Classique

Enregistré en ce début d’année à la grande salle de l’Université de Salzbourg, le nouvel album d’Hélène Grimaud comprend trois œuvres de Mozart : la Fantaisie inachevée en ré mineur K. 397, le célèbre Concerto pour piano et orchestre n° 20 en ré mineur K. 466 et la Fantaisie en ut mineur K 475.


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New Album

“The Messenger” now available


Presenting Hélène Grimaud’s brand-new album ‘The Messenger’ with unique recordings of Mozart and Silvestrov with Camerata Salzburg.

If Silvestrov is a remembrance of things past, Mozart reaches for what yet may come. This music reminds us of one of life’s great possibilities – that of change.

Listen here

“I was always interested in couplings that were not predictable, in unusual combinations, because I feel as if certain pieces – even sometimes pieces by different composers – can shed a special light on to one another.” – Hélène Grimaud

The recording sessions took place at the start of this year at an historic Mozart site in Salzburg, the Great Hall of the University, where Grimaud was joined by the Camerata Salzburg. The album includes three works by Mozart: the unfinished Fantasia in D minor K 397, the famous Piano Concerto in D minor K 466 and the Fantasia in C minor K 475. Grimaud sees his use of the minor as suggestive of “confrontations with fate or destiny”. She now appreciates that there is more to his writing than Apollonian elegance and restraint, noting that it took her “many years of inner cultivation to fully recognise those burning, unpredictable currents rippling beneath the transcendental beauty”. Valentin Silvestrov’s ‘The Messenger – 1996’ offers both a response to and an echo of Mozart’s music – this idea of acknowledging and paying tribute to what has gone before is central to his art as a composer.

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