Holst – Japanese Suite * Beethoven – Piano Concerto No. 4 * Rachmaninoff – Symphony No. 2

Gustav Holst’s Japanese Suite has an interesting genesis.  In 1915 Japanese dancer Michio Itō visited London to dance at the Coliseum.  English audiences expected something more exotic than the usual repertoire, so Holst was commissioned to oblige. Itō whistled all but one of the source melodies, Holst then transcribed and orchestrated them.

Principal Bassoon, Nikolaj Henriques, kicked the evening off with a marvelously evocative rendition of the plaintive first melody, and then the rest of the orchestra joined him to create a brooding atmosphere during the rest of the Prelude – Song of the Fisherman.  Alas, after this movement, the Suite then develops as a typical piece of early 20^th Century Japonaiserie; the oriental imaginings of a very Anglo-Saxon composer with liberal use of pentatonic scales and some colourful percussive interjections. 

The CBSO's new & exciting Chief Conductor & Artistic Director, Kazuki Yamada, and his players, made the most of Holst’s undoubted skill as an orchestrator to create some delicate effects and moments of true drama, particularly in the Finale – Dance of the Wolves.

Beethoven’s Piano Concerto No.4 in G has an undeniably experimental feel.  The composer seems to be trying to escape from convention, although it is not always clear Beethoven knew where he wished to escape to.  There is a lack of dramatic histrionics or bravura in the opening movement.  However, soloist, Seong-Jin Cho matched the low-bravura mood of Beethoven’s writing with some measured and exquisitely inflected playing. Again, attention to detail was the order of the day, and this allowed for a fresh new take on a familiar piece.

Thorough work in the rehearsal rooms clearly having been done, Yamada seemed happy to step back and act as a conduit in the conversation between orchestra and soloist, shaping everything with a light touch, ever attentive to the flow of musical ideas.

Cho brought a particularly crystalline, bell-like tonal quality to his playing during the Finale, which enabled him to nicely contrast passages which are songlike with the more playful.  The orchestra played with vigor and the concerto closed with a feeling of unbuttoned vivacity.

It is always satisfying to hear a rich-toned symphony orchestra playing a big romantic symphony.  And they don’t come much bigger or more romantic than Rachmaninoff’s Second.  The work is apparently a favourite of Yamada’s, and this shone through the performance.  As did the clear enjoyment felt by conductor and players in their work together. It was also so very pleasing to hear all of the horn section mostly playing without the customary cracks and creaks. Long may this continue.

Maestro Yamada gave a thoroughly thought-out reading of this lovely symphony; an interpretation which totally captured and highlighted the organic development and growth of musical ideas through each movement, and indeed through the work as a whole.  This was particularly clear in the perfect shaping of the Adagio, and in the controlled yet exhilarating building of momentum during the jubilant Finale. 

This was an impressive and powerful performance, and - as the CBSO launch publicity for their "2023-24 Epic New Season" under new Chief Executive, Emma Stenning - there is terrific excitement among their devoted followers (and reviewers!) that we are in for, as Yamada puts it: a Season full of surprises, incredible music, human connection, and big smiles. We can hardly wait.

David Gray & Paul Gray are Reviewers for Birmingham, West Midlands and the Three Choirs Festival 2022 & 2023. If you would like David & Paul to come review for you, drop us a line at p.gray.20@abdn.ac.uk

Kazuki Yamada – Conductor

Seong-Jin Cho – Piano

City of Birmingham Symphony Orchestra