For part of his long and celebrated career, pianist Vladimir Horowitz famously had his own piano transported to his concert engagements. The iconoclastic Krystian Zimerman also has done the same for several decades.

But Benjamin Grosvenor, 26, who in 2011 became the youngest British artist ever and the first British pianist in 60 years to sign with the prestigious record label Decca Classics, has little interest in such an indulgence. He believes it makes more sense to perform on the pianos that “live in” in the concert halls he visits and are acclimated to the humidity levels and other particularities of those venues.

“If you are touring with your own piano, it would sound very different in every space, and it wouldn’t necessarily suit every space,” he said. “Also, that would take away some of the excitement, because there is something nice about sitting down and getting to know this very different beast and exploring its possibilities. And some things will be better in one concert on one instrument and some things will be better in another concert on another instrument.”

The much-touted young pianist will take the measure of two local pianos when he appears for the first time with the Chicago Symphony Orchestra in Chopin’s Piano Concerto No. 1. under guest conductor Emmanuel Krivine for concerts April 11-13 in Orchestra Hall, with a run-out April 16 when the orchestra travels to the Krannert Center of the University of Illinois at Urbana-Champaign.

Grosvenor often is asked about the challenges of constantly performing on different pianos as he travels the world. “Sometimes it’s easy and sometimes it’s more difficult,” he said. “It’s a reality to being a pianist and something that I’ve dealt with since I was very young, since the very beginning. It’s just how the job it is.”

There are no tricks for mastering the idiosyncrasies of each piano. He just tries to make sure he has enough time to get to know the instrument — practicing on it at least two to three hours before a recital. “Sometimes you get good instruments,” he said. “Sometimes you get bad instruments. Sometimes you get good instruments that don’t necessarily suit you as well as other instruments. Pianists have different preferences for touch — lightness or heaviness in the action. Or particular sounds suit some pianists better or suit some repertoire better.”