More remarkable was his approach to the less showy music that began the concert, starting with Bach’s Fourth Partita in D major. Throughout, the crystalline clarity of his playing ensured that we heard all the detail in the part-writing, especially in the florid introduction to the Ouverture and in the final Gigue which was despatched with huge panache. There was expressiveness too and he was not afraid to use the resources of the modern grand piano to phrase the flowing beauty of the Allemande and the pensive Sarabande in a way that the harpsichord would not be able to. If there is a heaven then surely Bach is there and he would have approved.

Beethoven was a master improviser and Grosvenor brought out the improvisatory quality of the first movement of Sonata in E major op.109. The scherzo had all the power it required. In this music there is so much more than mere notes to conquer and for a young pianist, approaching ‘late’ Beethoven must seem daunting, but the impressive performance of the wonderful variations that followed showed mature understanding.

Playing three movements from Albeniz’s Iberia he transported us to Southern Spain with its sensual languor, the sounds of guitars and heady excitements of a religious procession all vividly portrayed. Liszt’s over-elaborate transcriptions of Chopin songs were deftly played and his flashy Rapsodie Espagnole was performed for all it was worth, (and more!) The audience loved it.

As an encore he gave us Sousa’s Stars and Stripes, playing it even faster and more accurately than Horowitz the arranger did. If you want proof Google Stars and Stripes Horovitz. Wow!

G.K.