Grigory Sokolov is undoubtedly one of the greatest individualists in contemporary piano playing. For him, concerts are not only a place where he can meet an audience, but also virtually his sole medium of musical expression. He avoids interviews, shuns recording studios and is reluctant to reveal the behind-the-scenes work that goes into his performances. He puts together his recital programmes himself, often keeping them secret until the last minute – as if he wanted listening to remain an act of pure, unbiased contemplation.

Critics, resorting to the boldest metaphors, point to the uniqueness of his interpretations, characterised by extraordinary concentration, spontaneity and poetic depth. His repertoire includes not only classic works, but also pieces composed long before the piano was invented: from transcriptions of medieval music, through Johann Sebastian Bach, Fryderyk Chopin and Franz Schubert, to Igor Stravinsky.

Sokolov’s recitals take place in semi-darkness, which enhances the focus and intimacy of the audience’s experience. This is no accident, but an element of carefully planned dramaturgy. Loyal listeners, who have been flocking to his Warsaw performances for years, know that a real concert does not end with the last piece on the programme. That is followed by a separate ritual – a series of encores, which form a separate act in the musical drama. It is then that Sokolov, silent off stage, invites his listeners to partake in an extraordinary dialogue.
 

Bartłomiej Gembicki