Belgian composer Robert Groslot embarks on a captivating journey with his latest project, showcasing a dedication to one of his most fruitful genres: the concerto. Collaborating for the first time with acclaimed clarinetist Roeland Hendrikx, Groslot's repertoire of concertos comes to life in a unique and compelling way.
The concerto genre, with its roots in the Baroque era, has evolved into one of the most beloved and versatile forms of classical music. Characterized by its dialogue between a soloist and orchestra, the concerto offers a platform for virtuosity, expression, and musical storytelling.
From the majestic works of Mozart and Beethoven to the bold innovations of contemporary composers, the concerto continues to captivate audiences with its dynamic interplay and rich emotional depth. Whether showcasing the brilliance of a soloist or the synergy of ensemble playing, the concerto remains a timeless testament to the power of musical collaboration and creativity.
Robert Groslot follows in this rich tradition, giving it a twist with his own musical language.
"As I have sought to elucidate, all of the concertos in my repertoire tell a unique story, driven by technical virtuosity and artistic vision," says Groslot. "In the hands of Jan Michiels, who performs the piano concertos, and clarinettist Roeland Hendrikx, I find that these fundamental characteristics of my style come to life in the richest possible way."
The orchestral parts are performed by the Brussels Philharmonic and Il Novecento, the symphonic orchestra founded by Groslot.
Robert Groslot CONCERTI
BBC Music Magazine
Concertos tumble out of Robert Groslot, just as they do from Kalevi Aho, though Groslot appears to be six behind Aho’s current total of 31. A few have featured quirky instruments like the E-bass guitar and accordion. Groslot’s own instrument, however, is the piano: something immediately obvious from the onslaught of quick-fingered passages dominating the two piano concertos here.
Indeed, the first of theme features so much high-speed piano chatter that if the concerto ahd a nickname it would have to be “The Garrulous”. The chattering quality is equally evident in Groslot’s brightly coloured, percussion-spattered orchestral writing, with motifs tossed back and forth in intricate textures that are busy without being overly imaginative, never stray too far from tonality and sometimes build into accelerating frenzies worthy of Ravel’s Daphnis et Chloe. The Brussels Philharmonic is on top form throughout, and in both concertos Jan Michiels’s energy and precision borders on the dazzling. It’s the 2019 Clarinet Concert, though, that gives the soloist -the lister too- more breathing space. Roeland Hendrikx seemingly revels in the work’s multiple shifting moods, from solo arabesques of liquid beauty to lazy ambling and the finale’s hectic rhythms.
AMERICAN RECORD GUIDE Jan-Feb 2025
In this all-Belgian project, pianist and conductor Robert Groslot (b. 1951) reflects on his journey as a composer. Self-taught, he produced his first effort in 1979, only to struggle on and off with writer’s block for the next 30 years. In 2006 he met flutist and music manager Els Weckx, who soon became his wife; and 3 years later, his Flute Concerto for her unleashed a period of creativity that continues to this day.
Here are 3 works from this recent burst of activity: his Piano Concerto 1 (2010), recorded in 2014 with Jan Michiels and the freelance ensemble Novecento; Piano Concerto 2 (2020), recorded the same year as its completion with Michiels and the Brussels Philharmonic; and the 4-movement Clarinet Concerto (2019), recorded in 2023 with Roeland Hendrikx and the Brussels Philharmonic.
The scores are vividly scored cinematic episodes of genial post-romantic modernism that weave the soloist into the orchestral fabric, even if the piano concertos allow for several stretches of meditative soliloquy. As expected, the presentations are fully professional; and Hendrikx gives clarinetists a masterclass in his deft handling of a free-blowing set-up that grants him maximum expressive flexibility. Fans of new music that is accessible to audiences will find much to like. HANUDEL
PIZZICATO MAGAZINE 10/06/2024
Rezension von Remy Franck - *****
Groslots ganze Fantasie in seinen Konzerten
Robert Groslot, einer der einfallsreichsten und produktivsten belgischen Komponisten, dirigiert drei Konzerte. Das erste, das Klarinettenkonzert op. 124, wechselt zwischen ruhigen und schnellen, teilweise sehr virtuosen und gar frenetischen Passagen und prägt sich einem als ungemein brillantes Stück ein.
Das erste Klavierkonzert von 2010 beginnt sehr unruhig und drängend. Die Musik mündet dann in eine ruhigere Phase, aber das Orchester kommentiert als wolle eine Schar Tiere den Pianisten aufscheuchen, was auch gelingt, denn bald wird die Musik wieder rhythmischer, und alle hetzen vorwärts. Und auch wenn vorübergehend etwas Ruhe einkehrt, bleibt die unruhige Stimmung in einem sehr atmosphärischen und originellen Konzert.
Das Zweite Klavierkonzert beginnt ruhig und wird dann, wild herausfahrend, hoch virtuos, um einer weiteren verträumten und geradezu paradiesischen Passage das Feld zu überlassen, ehe ein schelmisches Dialogieren zwischen Soloklavier und Orchester die Musik wieder rhythmischer und zunehmend opulenter werden lässt und beim gespannt zuhörenden Hörer bleibende Eindrücke hinterlässt.
Exzellente Interpretationen unter der Leitung des Komponisten, hervorragende Solisten und eine gute Tonaufnahme machen dieses neue Groslot-Album sehr attraktiv.
FANFARE MAGAZINE - MARK NOVAK
This was a pleasant find. Robert Groslot is a living composer (and conductor and pianist), born in 1951. As a composer, he seems to have gravitated to concertos for a wide range of instruments. The booklet note by the composer goes some way in explaining this compositional penchant, which has reached 26 works with a Concerto for Piano Trio and Orchestra that is currently in progress. I hope that will be recorded when finished. The three concertos here are all written in a chromatic yet tonally anchored framework that explores interesting orchestral textures and virtuosity for the various soloists.
... The Clarinet Concerto is from 2019 and is in four movements (20:50). As in the First Piano Concerto, the solo clarinet kicks things off in a moderate tempo, after which it is then joined by a French horn in counterpoint. Bits of the orchestra join in as the mood remains mysterious. The clarinet begins to bait the orchestra with a jaunty phrase, and things get lively for a bit. At the midway point, a somber and reflective clarinet cadenza ensues. That jaunty clarinet phrase breaks the spell and the orchestra joins in to finish the movement. The second movement is a lively Allegro giocoso, featuring a skittish clarinet with commentary from various parts of the orchestra. The serene third movement opens with an English horn line that the clarinet soon joins. The orchestration is sparse here, as the solo clarinet carries the themes until the music seems to evaporate. The finale breaks the spell with a playful, martial theme from the soloist. This playful demeanor gets interrupted at the midway point by an outburst from the orchestra, and the rhetoric gets heated and intense. This builds to a climax, pounding timpani and all, ending with a final clarinet flourish.
This is another satisfying piece, expertly orchestrated.
... The performances from pianist Jan Michiels and clarinetist Roeland Hendrikx are excellent, as are the two accompanying ensembles under Robert Groslot’s direction. These studio recordings were made over three different sessions in 2014 (First Piano Concerto), 2020 (Second Piano Concerto), and 2023 (Clarinet Concerto). The sound is uniformly fine.
This is modern music that is composed with skill and won’t send you running out of the room. I enjoyed this so much that I promptly sought out one of Groslot’s earlier recordings (featuring his Concerto for Orchestra and Violin Concerto), which also contains some very good and interesting music. Recommended.
This article originally appeared in Issue 48:3 (Jan/Feb 2025) of Fanfare Magazine.
