Other musicians and critics on Carlo Grante’s playing:

  • “Carlo Grante, a fearless, flawless knight of the piano…” Wilhelm Sinkovicz, chief music critic of Die Presse, Vienna, 14 January 2010, announcing the Busoni concerto for piano, orchestra and male voice choir, op. 39, performed in the Konzerthaus, Vienna. The German original reads:

“Carlo Grante, ein Klavier-Ritter ohne Furcht und Tadel aus Italien, hat sich in den letzten Jahren als Spezialist für solche Sonderaufgaben [such as Busoni’s hour-long concerto] etabliert. Er hat auch andere, als schier unspielbar geltende Werke einstudiert und für CD dokumentiert, etwa (auf Music & Arts) die „Etüden über die Chopin-Etüden“ von Leopold Godowsky. In hypertropher Virtuosität wird da alles, was Chopin an technischer Fertigkeit verlangt, noch potenziert: Manchmal werden zwei Etüden gleichzeitig gespielt, andere nur von der linken Hand.”
© DiePresse.com

  • The music critic of the Leipziger Volkszeitung described Carlo Grante’s Mozart’s D minor Fantasia, played in encore to his performance of the Schmidt concerto under Fabio Luisi in Leipzig, 22 September 2005:

“Carlo Grante is a marvelous pianist… In his encore with Mozart’s D minor Fantasy, he … caressed the keys sumptuously and, as if under a spell, made them sing; they seemed to represent the world itself. A little quiet miracle.”

[German full text: “Carlo Grante ist ein wunderbarer Pianist… Nur gut, dass Grante in seiner Zugabe beidhändig unbehelligt bleibt von derlei Unzulänglichkeiten und mit Mozarts zauberischer d-moll-Fantasie kostbar tupfen, überlegen gestalten, entrückt singen kann auf den Tasten, die die Welt bedeuten. Ein stilles kleines Wunder.”

  • Critic John Bell Young described Carlo Grante’s playing in a review of his CD of Busoni: works for piano and orchestra, Music & Arts, CD-1047, Tower of Babel, 1999:

“Grante’s suave, streamlined playing is abundantly detailed, but never fussy, and puts me in mind both of POLLINI, for its icy precision, and of BOLET, for its appealing combination of reserve and intensity.”

  • Pianist Paul Badura-Skoda, in an handwritten testimonial, February 27, 2014:

“Carlo Grante should be renamed: Carlo Grande. He is one of the best pianists around, “the man of all seasons”, from Scarlatti spring to the autumn of Busoni and Franz Schmidt. (No winter yet.)”

  • Conductor Fabio Luisi, in a letter of testimonial, February 9th, 2014:

“Carlo Grante is one of the most astonishing artists I have ever known and worked with. And a challenge for every artist, since his artistry is permeated with the deepest knowledge in almost every artistic field – but not only…Interesting for me as a musician and as a conductor is the way he approaches a musical work: considering it as expression of time, environment, as well as the composer’s own personal, social and cultural experience… then, with Carlo’s fantastic skills (technical as well as analytical) it becomes alive in a way which sounds new, sometimes unexpected, but always both logical and natural. Working with Carlo Grante is an enrichment in musical experience and understanding, and so it is for his audience.”