Acclaimed French classical pianist Helene Grimaud, known for her unique approach to music, believes there should be no conflict between freedom and fidelity in performance. As a child, she was captivated by Russian pianist Sviatoslav Richter’s interpretation of Austrian composer Franz Schubert’s Piano Sonata in B-flat Major. This led her to ponder the intriguing relationship between being distanced from the text while remaining true to it.
Grimaud is in Singapore to perform French composer Maurice Ravel’s Piano Concerto in G Major at the Victoria Concert Hall with the Singapore Symphony Orchestra (SSO) on October 16, followed by a solo recital at the same venue on October 17.
In a media roundtable on October 15, the 54-year-old pianist shared her insights about life and music. She discovered the piano at the age of seven and was accepted into the Paris Conservatoire at 13, where she won first prize in piano performance just three years later.
Her significant achievements include debuting in 1995 with the Berliner Philharmoniker under Claudio Abbado and performing with the New York Philharmonic in 1999, conducted by maestro Kurt Masur.
“One thing that has always fascinated me is trying to reconcile opposites, whether in music or in life,” she explained, freshly emerged from rehearsals with SSO music director Hans Graf. Known for her exquisite rubato—an expressive disregard for strict timing—and her deeply personal interpretations of classical works, Grimaud sways along with the orchestra during rehearsals, skillfully manipulating time.
Grimaud previously played Ravel’s Piano Concerto in G Major with the SSO in 2015, under the direction of American conductor John Nelson, a performance that The Straits Times lauded as “expansive” and “romantic.” Nearly a decade later, she expressed her joy at returning to this piece with the SSO.
When asked about her approach to the concerto, Grimaud reflected on the need for more expressiveness, clarity, and serenity before ultimately stating, “More freedom, but not at the expense of the score. It’s about having freedom within the universe that the score provides.”
She likened her craft to that of an artisan, appreciating the beauty and nobility in honing one’s skills through practice and rehearsal. Yet, when performing with colleagues and an audience, she believes it takes wisdom to let go and embrace spontaneity.
Before stepping onto the stage, Grimaud engages in a ritual of seeking silence and darkness but emphasizes the importance of not becoming too reliant on it, especially while touring.
Beyond her musical talents, Grimaud embodies a Renaissance spirit. She founded the Wolf Conservation Center in upper New York State, expressing that her connection to wolves reflects a relationship with “the world of the non-spoken,” which complements her musical endeavors.
Since 2009, she has been a Rolex Testimonee and feels fortunate to partner with the brand. She believes large corporations have a responsibility to support initiatives that foster humanity and preserve cultural legacies for future generations.
For Grimaud, the perception of tempo is central to understanding human diversity. “The main difference between people is their perception of time,” she notes, suggesting that this shapes individual identities.
When determining how and when to play a note, she insists on an organic approach: “There has to be a sense of inevitability. When it’s time to play that note, it must feel like the right moment. Though there are countless artistic options, each interpretation can be equally valid and faithful to the text.”
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