fabio grasso website – home
SOME REVIEWS in English translation
«...This young Italian pianist with very refined sensibility offered us an interpretation of two Debussy’s Préludes ... in which his touch worked wonders ...» (Le Figaro, 2/6/1996)
«...It is surprising to listen to a pianism that is surely virtuoso, but also so deep and generous. He’s certainly cerebral, but his playing reveals a true musical sensibility.» (La lettre du musicien: musiques, Nov. 1998)
«...To begin a recital by Stockhausen’s Klavierstück XI and to end it by Schumann’s Symphonic Etudes is a proof of a certain boldness ... The demonstration was probative. Between Stockhausen and Schumann Busoni assured a transition of dazzling evidence. Wonderful sound, masterly nuances revealing the intelligence of the artist who knows the deep meaning of the works and highlights their architecture: these qualities are typical of an extraordinary interpreter.» (Le Monde de la Musique, n. 227, Déc. 1998 – CD Busoni: “CHOC” du mois.
«...This virtuoso pianist claims everyone’s attention especially for the variety of his timbre, the concentration of his playing and his way to highlight the musical architectures – this last quality was particularly perceptible in Schumann’s Symphonic Etudes.» (Paris 17/10/1998 AFP YB/dpn)
«...Certainly not all pianists can master the monumental Beethoven’s “Hammerklavier” Sonata op. 106 and exalt its majesty, its depth, its poetry, like Fabio Grasso...» (Nice matin, 28/10/1996)
« … With its subtle language, its wise dissonances, its misty low tones and its high – sometimes striking notes, its skilful nuances in the resonances, Fabio Grasso’s La danza segreta di Maeve is surely a contemporary page of great worth! … In Schumann’s Carnaval Fabio Grasso reveals himself as an all-round artist, who excellently exalts the colourfulness of this piece, but is also careful to its inmost confessions. From a continuous, refined work on the nuances, the atmospheres and the contrasts arises an interpretation that is always charming!» (Les dernières nouvelles d’Alsace, 13/7/2000)
«… The sound of Fabio Grasso becomes water, air, light, pure colour in a cognitive tension towards the Absolute … The first performance of his piece Blumentraum was particularly suggestive: the oneiric reflections, inspired by Jean Paul and Schumann’s poetics, create a personal world where some expressionist echoes, as well as Freudian intuitions and reminiscences of the impressionistic symbplism blend giving rise to a suspended sound, without gravitational centres, and animated by sudden, everchanging, vibrating motions» (Il Gazzettino di Venezia, 4/7/2006).
«… In this spectacular coupling of Beethoven’s Diabelli Variations and Sonata op. 106 in the same concert, Fabio Grasso confirmed his interpretative mastery, sense of construction, depth of approach, especially in the long Adagio of the op. 106 … at the end of the monumental concert, while playing Liszt’s Impromptu in F sharp and Chopin’s Etude op. 25 n. 1 as encores, he showed such an intact clearness of mind and athletic strength, that he seemed to be able to continue proposing Liszt’s B minor Sonata …» (Alberto Albertazzi, Corriere Eusebiano, 10/12/2011).
« … Fabio Grasso has given off the breathe of Spirit, the force of wind in his Fantasia Veni Creator Spiritus. The premiere is related to the spirituality, linking Heaven and Earth, and the artist is the magnificente interpreter of this middle space; the emotion overcomes us, plucking at our heartstrings. The music is sometimes tender and deep, sometimes violent, like from threatening skies, with impressionistic colours thet create an original palette, rich of harmonic experimentation.» (Jean Kowalski, La République du Centre, Orléans, 24/02/2012)