Georg Graewe: Nothing Personal – Release Concert at Loft

tickets:
regular: 14,- €uro
students, disabled persons: 7,- €uro

doors: 6.30 pm CET
concert starts:
approx. 7.00 pm CET


Autumn solo concerts at LOFT have been part of my agenda for a number of years, by which time they almost suggest the status of a tradition. Many of the evenings have been recorded, and excerpts from 2012 – 2019 are now presented in the form of a 3-CD box set, expanded with recordings from Nickelsdorf (2016) and Vienna (2018).

Solo concerts require a certain stamina in terms of technique and imagination, but have the advantage that no one gets in your way – except yourself, and that’s enough to deal with....

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tickets:
regular: 14,- €uro
students, disabled persons: 7,- €uro

doors: 6.30 pm CET
concert starts:
approx. 7.00 pm CET


Autumn solo concerts at LOFT have been part of my agenda for a number of years, by which time they almost suggest the status of a tradition. Many of the evenings have been recorded, and excerpts from 2012 – 2019 are now presented in the form of a 3-CD box set, expanded with recordings from Nickelsdorf (2016) and Vienna (2018).

Solo concerts require a certain stamina in terms of technique and imagination, but have the advantage that no one gets in your way – except yourself, and that’s enough to deal with.

Georg Graewe
Vienna, September 16, 2023

„Lyrically playful, highly virtuosic, sensitive to sound and clearly structured: Georg Graewe’s solo performance in Ludwigshafen impressively demonstrated the pianist’s exceptional status …
Graewe’s musical language has absorbed jazz history from Jelly Roll Morton to Bill Evans to Fred van Hove as well as the elegance of the French piano tradition or the laconic conciseness of the Second Viennese School.“
Julia Neupert , SüdwestRundfunk (SWR), 2015

„What distinguishes Graewe is his remarkable control, a focused urgency making his compositions/improvisations feel twice as dense. The way his hands tumble across the keys and over each other should make it inevitable that his fingers would get twisted up like Bugs Bunny playing Liszt, yet there is never a moment of anything other than perfect articulation. This is complemented/contrasted by an unusual rhythmic sense in some sections, almost a drunken lurch approaching proto-stride. And when he plays slow passages, the loveliness is highlighted by his seeming to wait until the absolute last possible millisecond to play a note.“
Andrey Henkin, New York City Jazz Record, 2018

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