Two enthralling recordings that pair keyboard music from centuries past with contemporary works have been released this year. The first is Jeremy Denk’s “Ligeti/Beethoven” (Nonesuch), which bookends Beethoven’s otherworldly Sonata Opus 111 with György Ligeti’s astringent and electrifying études. The other is “Baroque Conversations” (Sony Classical) by the Jerusalem-born pianist and conductor “David Greilsammer,” who will play a late-night concert on August 14 at New York’s Mostly Mozart Festival and a recital on August 17 at the Ravinia Festival near Chicago.
Greilsammer is 35 and music director of the Geneva Chamber Orchestra. He has made a name for himself by crafting risky, imaginative programs: playing all of Mozart’s piano sonatas in one day, for example, or exploring links between Freemasonry and Kabbalah in music. He studied at the Rubin Conservatory in Jerusalem and in New York with Yoheved Kaplinsky and Richard Goode.
“Baroque Conversations” showcases Greilsammer’s seductive, deeply intelligent playing of an astonishing range of music. Four groups of musical encounters bracket 20th- and 21st-century works with earlier music, bathing all in kaleidoscopic colors. The restless intervals of pieces by Rameau and Soler find shadowy echoes in Morton Feldman’s spectral “Piano Piece”; the prepared-piano stutters of Nimrod Sahar’s “Aux murailles rougies” (honoring Juliano Mer-Khamis) shine a desolate light on the stately sadness of works by Froberger and Gibbons. The program also includes music by Couperin, Matan Porat, Handel, Frescobaldi, Helmut Lachenmann, and Sweelinck.
Greilsammer answered a few questions by email on the eve of his Mostly Mozart recital.
Marion Lignana Rosenberg: In your Twitter profile you write that you are “always interested in crazy musical projects.” What makes a project “crazy” for you?