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.