Grimaud can find a world in a drop of dew. She matches the virtuosity of Schumann with pieces by Satie, Silvestrov, Debussy and Chopin: little universes linked by the concept of recollected time.
Her aim with this programme, she says, is to ‘conjure atmospheres of fragile reflection, a mirage of what was – or what could have been’. But then, Grimaud has been called a renaissance woman – and her painterly, passionate sensibility makes everything she plays glow with colour. Only she, perhaps, could have imagined so elusive a musical concept; certainly, no-one is better equipped to bring it luminously to life.