on 26 October 2024

Photographs by David Hogg of Horizon Imaging.

On a very fine autumn evening last Saturday, the full capacity recital room at Breinton turned into one substantial and imaginative exhibition.  The pictorial, graphic and illuminating account of Benjamin Grosvenor’s Pictures at an Exhibition pinned the audience to their seats throughout, yet somehow escorted us from one picture to another, going through various promenades in a different mood each, sometimes briskly encouraging us, other times cautiously leading us, or gently guiding us hand in hand.  Be it the light-footed comical chicks, heavy bodied cattle battling through mud, hauntingly poignant castle, bustling chaos of the marketplace, and Baba Yaga plotting something sinister, each atmospheric circumstance and appearing creature’s movements were depicted vividly by Benjamin’s acute precision and expertly nuanced voicing.  All was mightily expressed by his magnificent range of tones and sonority and skill to project them onto the audience.  The ultimate climax came when the majestic view of the Great Gate of Kiev emerged right in front of our eyes (we really felt like it) – full eruption of imagination and bursting colours.  It was orchestrated with an unapologetic usage of the pedal and power together with precise control, creating the sounds which vibrated the core of our body and mind.  Absolute silence remained as if to soak up the last chord completely till it disappeared into the air, then a thunderous applause. 

Brahms’ Three Intermezzo with which Benjamin opened the recital were intimate and poetic, and I think this is where Benjamin shows his true nature which established him as an unshakable status as a pianist, admired globally.  His expressive sounds were so subtle, tender and touching, and they brought out the irresistible beauty and autumnal sensation.

With Schuman’s Fantasy, the monumental Romantic work by the composer, we go through emotional turmoil and complexity.  Benjamin’s impressive range of tones, sonority, texture and resonance expressed the intensely urged emotion and declaration of love, while his subtle rubato added extra maturity and a bit of swings.  In places, his effective usage of pedaling, sustaining the lower register chords while playing melodies that went with them as if they were being memory-foamed, created such blissful moments.  I thought the transmission from the 2^nd to 3^rd movement was glorious, shifting from the passionate explosion of love into longing and caring.

Following the Brahms and Schumann was Mussorgsky’s Pictures at an Exhibition, completely switching the vibe.

The encore was Bach’s Prelude transcribed by Siloti.  Simply eternal.  How we wished to sit there and listen longer…….

• Brahms
  
  • Three Intermezzi Op. 117
• R Schumann
  • Fantasie Op. 17
• Mussorgsky
  
  • Pictures at an Exhibition

Johannes Brahms (1833 – 1897)
Three Intermezzi, Op. 117

Brahms’ Three Intermezzi, Op. 117, represent some of his most introspective and poetic late piano works. Composed in 1892, these pieces reflect a deep sense of melancholy and contemplation, often seen as a reflection of Brahms’ own emotional state during his later years. The intermezzi are subtitled "Lullabies to my Sorrows," encapsulating their quiet, reflective nature. Each piece explores a unique mood, while maintaining a delicate, understated beauty that is characteristic of Brahms' late style.

The first intermezzo, in E-flat major, is marked by a gentle rocking motion, with its melody inspired by a Scottish lullaby. It is tender and sorrowful, creating an atmosphere of deep personal reflection. The second intermezzo, in B-flat minor, takes on a more somber and dark tone, with intricate harmonic progressions that seem to evoke inner turmoil and longing. The third intermezzo, in C-sharp minor, is more turbulent, with a stormier middle section that contrasts with the calm, meditative outer sections.

Grosvenor’s interpretation of these pieces will likely highlight their subtle emotional nuances, bringing out the deep lyricism and restrained intensity that make Brahms' intermezzi such intimate, personal statements.

Robert Schumann (1810 – 1856)
Fantasie in C major, Op. 17

Schumann’s Fantasie in C major is one of the great monuments of the Romantic piano repertoire. Written in 1836 and dedicated to Franz Liszt, this work is an outpouring of Schumann’s intense emotions, particularly his love for Clara Wieck, who later became his wife. Originally conceived as a grand sonata, the Fantasie evolved into a more free-form, episodic structure that reflects Schumann’s deeply personal expression.

The first movement, marked Durchaus fantastisch und leidenschaftlich vorzutragen (To be performed with fantasy and passion throughout), is a powerful statement filled with passionate outbursts, lyrical beauty, and moments of quiet reflection. Schumann’s rich harmonic language and shifting moods create a sense of unpredictability and spontaneity. The second movement, a march-like section in E-flat major, provides a contrast with its rhythmic drive and grandeur, but still retains the emotional depth of the first movement. The final movement, in C major, is serene and contemplative, offering a sense of resolution and peace, though still tinged with melancholy.

Grosvenor’s performance will surely capture the emotional complexity and Romantic fervor of this masterpiece, conveying Schumann’s unique blend of passion, lyricism, and structural innovation.

Modest Mussorgsky (1839 – 1881)
Pictures at an Exhibition

Mussorgsky’s Pictures at an Exhibition is a tour de force of pianistic color and imagination. Originally composed as a suite for solo piano in 1874, the work was inspired by a series of artworks by Mussorgsky’s friend, the artist Viktor Hartmann. Each movement of the suite depicts a different painting, with the composer using music to vividly capture the essence of each image. The recurring Promenade theme represents the viewer walking through the exhibition, transitioning from one picture to the next.

The suite opens with the Promenade, an expansive and noble theme that sets the tone for the journey through Hartmann’s gallery. The following movements, such as Gnomus, with its grotesque, clumsy rhythms, and The Old Castle, with its haunting, melancholic melody, offer striking contrasts. Tuileries depicts playful children, while Bydło captures the slow, lumbering pace of an ox-cart. Each movement paints a vivid musical picture, from the delicate beauty of The Ballet of Unhatched Chicks to the dark, menacing atmosphere of The Catacombs.

As the suite progresses, Mussorgsky blends musical realism with the fantastical. The Hut on Fowl’s Legs (Baba Yaga) is particularly striking, conjuring up a mythical Russian witch flying in her magical hut. The movement’s rapid scales and fierce rhythmic drive reflect the terrifying power and unpredictability of the character. This intensity is immediately juxtaposed with the grandeur of the final movement, The Great Gate of Kiev, a sweeping, majestic portrayal of a monumental city gate. The theme of national pride resounds through the powerful chords and triumphant fanfares that bring the suite to a dramatic conclusion.

Mussorgsky’s work is notable for its unorthodox use of harmony and rhythm, which creates an almost visual experience of the paintings. The piece demands not only technical brilliance but also a capacity for vivid characterization, and Grosvenor’s ability to bring these pictures to life with both precision and imagination will be a highlight of the performance. His understanding of the narrative arc within this suite will lead listeners through a dynamic, colorful journey, providing a fitting conclusion to the recital.

British pianist Benjamin Grosvenor is internationally recognized for his sonorous lyricism and understated brilliance at the keyboard. His virtuosic interpretations are underpinned by a unique balance of technical mastery and intense musicality. Grosvenor is regarded as one of the most important pianists to emerge in several decades, with Gramophone recently acknowledging him as one of the top 50 pianists ever on record.

Concerto highlights of the 2024/2025 season include debuts with Bamberg and NHK Symphony Orchestrasalongside a UK tour with the London Philharmonic Orchestra and conductor Karina Canellakis and returns to Montreal, Utah, Seattle, Bern, Dallas, BBC, and City of Birmingham Symphony Orchestras, and the Royal Northern Sinfonia. Grosvenor is also a featured artist at the Theatre des Champs-Elysées in Paris, appearing for both concerto and solo recital performances during the same week in February 2025.

A celebrated recitalist, this season Grosvenor performs across the world a programme featuring Mussorgsky’s Pictures at an Exhibition including at Shanghai Symphony Hall, Muza Kawasaki, National Concert Hall, Taipei, Princeton University Concerts, Unione Musicale de Torino, and London’s Wigmore Hall.

Highlights of recent seasons include successful debuts with the Chicago Symphony and Cleveland orchestras, Deutsches Symphonie-Orchester Berlin, RSO Wien at the BBC Proms, Beethoven piano concertos 3 and 4 with the Scottish Chamber Orchestra with conductor Maxim Emelyanychev at the Festival Radio France, varied projects as Artist in Residence at the Sage Gateshead in the 2022/2023 season, the Wigmore Hall in 2021/2022, and at Radio France in 2000/2021. A renowned interpreter of Chopin, in the 2022/2023 season he performed both concertos with the Philharmonia Orchestra at the Royal Festival Hall. In recital he has performed at Konzerthaus Berlin, Chicago Symphony Centre, Luxembourg Philharmonie, Frankfurter Hof Mainz as part of the SWR2 International Piano Series, ‘Chopin and his Europe’ Festival in Warsaw, La Roque, Barbican Centre, Southbank Centre, Spivey Hall, Washington’s Kennedy Center, New York’s Carnegie Hall, and 92nd Street Y.

A keen chamber musician, Benjamin regularly works with renowned ensembles — the Modigliani Quartet and Doric Quartet amongst them — and in chamber projects with other esteemed soloists Kian Soltani, Timothy Ridout, and Hyeyoon Park, including a forthcoming European tour of Strauss and Brahms Piano Quartet No. 3 with performances at Luxembourg Philharmonie, the Southbank Centre, and Palau de la Musica Barcelona.

In 2011 Benjamin signed to Decca Classics, becoming the youngest British musician ever — and the first British pianist in almost sixty years — to do so. His recent solo release of ‘Schumann and Brahms’ featuring Kreisleriana was praised as a “masterpiece” (Le Devoir), selected as Gramophone Editor’s Choice, and awarded Diapason d’or de l’année and CHOC Classica de l’année 2023. In 2020 he released Chopin piano concertos 1 and 2 with Elim Chan and the Royal Scottish National Orchestra, which received the Gramophone Concerto Award and a Diapason d’Or de L’Année, with Diapason’s critic declaring the recording “a version to rank among the best, and confirmation of an extraordinary artist.” The renewal of his partnership with Decca in 2021 coincided with the release of Benjamin’s album of Liszt, awarded Chocs de l’année and Prix de Caecilia. The most recent addition to Grosvenor’s impressive discography includes Beethoven’s Triple Concerto, alongside Nicola Benedetti and Sheku Kanneh-Mason, and folk song settings with celebrated baritone Gerald Finley.

He was invited to perform at the First Night of the 2011 BBC Proms with the BBC Symphony Orchestra, where he has since become a regular over the last decades, including at the last night of the Proms with Marin Alsop and the BBC Symphony Orchestra in 2015. He performed Shostakovich’s Piano Concerto No. 1 with Paavo Järvi in 2020, a solo recital in 2023, and Busoni’s monumental Piano Concerto in 2024.

Grosvenor has received Gramophone’s ‘Young Artist of the Year’, a Classical Brit Critics’ Award, UK Critics’ Circle Award for Exceptional Young Talent, and a Diapason d’Or Jeune Talent Award. He has been featured in two BBC television documentaries, on BBC Breakfast, Front Row, and CNN’s ‘Human to Hero’ series. In 2016 he became the inaugural recipient of The Ronnie and Lawrence Ackman Classical Piano Prize with the New York Philharmonic.

Following studies at the Royal Academy of Music, he graduated in 2012 with the ‘Queen’s Commendation for Excellence’ and in 2016 was awarded a RAM Fellowship. Benjamin is an Ambassador of Music Masters, a charity dedicated to making music education accessible to all children regardless of their background, championing diversity and inclusion.