When an orchestra with the international reputation of the City of Birmingham Symphony Orchestra (CBSO) tours through Europe, expectations are naturally high. At deSingel on Saturday, March 7, the ensemble performed under the baton of music director Kazuki Yamada a programme that promised both orchestral virtuosity and pianistic brilliance: a British overture by William Walton (1902-1983), the iconic First Piano Concerto by Pjotr Iljitsj Tsjaikovski (1840-1893) with the renowned Bruce Liu as soloist and after the interval Pictures at an Exhibition by Modest Moessorgski (1839-1881) in the colourful orchestration of Maurice Ravel (1875-1937).
From the very first note, there was tension in the hall; the soft rustling of programmes ceased and everyone felt that something special was about to happen.
Sparkling energy
The evening started with Walton's overture Portsmouth Point, a short but spectacular orchestral work that has held a permanent place in the British repertoire since its premiere in 1926. Walton was inspired by a satirical engraving by Thomas Rowlandson depicting the chaotic harbour life of Portsmouth – and that bustle can be heard in the music.
With a clear, precise gesture and a sharp sense of rhythm, Yamada kept the orchestra tightly together. The CBSO responded alertly and played with impressive precision: nervous rhythms, pointed accents and an almost jazzy energy gave the music a catchy pace and a lightly sparkling character. The brass section shone with brilliant projection, while percussion, woodwinds and strings allowed the motor drive of the score to run smoothly. Striking was how Yamada subtly encouraged his musicians with brief nods and raised thumbs.
The audience was immediately gripped and the orchestra was able to display its virtuosity fully. The rhythmic sparkle of Walton laid the foundation for the rich spectrum that would be further expressed later in Tsjaikovski and Ravel.
Dialogue of fire and breath
This was followed by one of the most popular concert works from the Romantic repertoire: Tsjaikovski's Piano Concerto No. 1. As soon as the monumental opening chords rolled through the hall, it became clear that Yamada had chosen a broad, warm orchestral sound. With Bruce Liu, the audience heard a pianist who, since his victory at the International Chopin Competition in Warsaw (2021), has become one of the most sought-after pianists of his generation. His playing immediately impressed with an elegant, clear touch that remained airy, transparent and lively even in the most virtuosic passages.
It soon became clear how strong the musical bond between Yamada and Liu was. Orchestra and soloist seemed to breathe in perfect symbiosis, as if each note formed an intimate conversation. In the first part, Liu's natural phrasing was particularly striking. The rapid runs and arpeggios sounded effortless, but never as mere technical display. He always kept the melodic line central, which made the music breathing and exciting. The great cadenza impressed with Liu's flawless technique; every note was carefully placed and the audience listened in suspense.
The Andantino semplice brought a moment of stillness. Liu played the lyrical lines with an almost poetic refinement, while the orchestra laid out an airy, transparent tapestry of sound. Beautiful were the ethereal solos of flute, oboe and cello, which added extra colour to the intimate character. Once again it became clear how carefully Yamada maintained the balance between soloist and orchestra. In the Allegro con fuoco the temperament of the music then came fully to the fore. Pianist and orchestra found each other in an energetic dialogue that was progressively built towards the final climax. The finale unfolded as a fiery fireworks display, with the orchestra never overshadowing the piano. The applause rang out like a warm embrace for a performance that through virtuosity and musicality deeply moved the listeners.
With Fantaisie-Impromptu, op. 66, by Frédéric Chopin (1810-1849) as an encore, Bruce Liu sent the audience into raptures again. His playing combined brilliant virtuosity with lyrical depth. Liu's touch remained light and transparent, and every nuance seemed to be carefully painted, as if the piano were whispering stories that could only be heard on this evening. The audience hung on his every note, enchanted by his virtuosity.
Orchestral painting
After the interval, the CBSO had ample space to showcase its qualities in Pictures at an Exhibition by Modest Moessorgski, in the orchestration of Maurice Ravel. This orchestral version has become one of the most colourful scores in the symphonic repertoire, a true showcase of orchestral imagination and richly varied sonorous splendour.
Yamada proved to be an excellent guide. The orchestra made every brushstroke of Ravel audible, from the softest detail to the greatest orchestral colour planes. The various Promenades received under his direction a natural breathing, as if the audience were walking past the paintings together with the composer. The orchestral solos that coloured these walking moments sounded crystal clear and characterful.
Gnomus came across sharp and grotesque, with angular accents in brass and percussion. When a Promenade appeared again afterwards, the music seemed to pause briefly – a short breath before the next scene. That scene was The Old Castle, and here followed one of the most beautiful moments of the evening. Like a lonely troubadour, the alto saxophone floated above the foundation of cellos and double basses; the hall held its breath, enchanted by the melancholy of the melody.
The CBSO demonstrated in each painting how homogeneous the ensemble is: warm, well-sustained strings, characterful woodwinds and a brass section that can deliver powerfully without ever losing balance. In Tuileries, the woodwinds darted lightly through the orchestral texture, as if children were playing through the Parisian garden. The Ballet of the Chicks then brought a playful lightness, effervescent and mischievous in character.
The monumental finale The Great Gate of Kiev grew into an impressive apotheosis. Yamada built the tension carefully, step by step, towards a sumptuous climax in which brass, strings and percussion created an overwhelming grandeur.
A shared celebration
Throughout the concert, it was striking how visibly Yamada inspired the CBSO. The musicians played with infectious enthusiasm, as if they themselves were part of a celebration of sound and virtuosity.
The audience in the sold-out Blauwe Zaal responded exuberantly. The orchestra thanked them with a gripping encore, the captivating A Pine Forest in Winter from Tchaikovsky's Nutcracker, a radiant cherry on top of the musical cake. Conductor and musicians waved farewell to a satisfied audience, who headed home with hearts full of music.