Pierre-Laurent Aimard, Queen Elizabeth Hall, review: Pianist’s Ligeti recital was exhilarating in the ex

No musician was ever more blessed than pianist Pierre-Laurent Aimard. French composer Olivier Messiaen and his pianist wife made him their adoptive son when he was twelve, and Pierre Boulez – high priest of musical avant-gardism – installed him as house-pianist for his resident orchestra when still in his teens. Meanwhile the great Austrian pianist Alfred Brendel saw in him his alter ego – they both have the same quizzical, sad-clown grin – and roped him in as his favourite co-performer.

“Ligeti can be terrible to his interpreters,” Aimard once told me. “If he thinks they’ve played his music badly, he tells them to play it no more. He once came on stage at the end of a concert and told me to play a particular study again, because I had not played it fast enough – yet it was already almost impossibly fast.

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