Chen, Ravel, Saint-Saens

Usher Hall 6/8/25

 NCPA Orchestra, Myung-Whun Chung (conductor), Bruce Liu (piano), Hansjörg Albrecht (organ)

 The prodigious pianism of Canadian artist Bruce Liu was centre stage in this rewarding concert given by the NCPA Orchestra (from the National Centre for Performing Arts in Beijing). The whole was under the confident baton of Myung-Whun Chun, who has led some of the foremost orchestras in Asia, Europe and North America.

 Chén Qígāng’s atmospheric ‘Wu Xing’ set the scene. Lasting just ten minutes, this suite for full orchestra and percussion – including bamboo chimes, glockenspiel, marimba and tam-tam – would not inappropriately be termed a ‘grand miniature’, packing in as it does a huge swathe of colours, sounds and textures over five mini-movements. Chén was Messiaen’s last pupil, and the master’s influence can clearly be detected, along with hints of Takemitsu.

 However, Chén has his own voice and procedures, economically but evocatively characterising the ancient Chinese philosophical idea of five elements: water, wood, fire, earth and metal. The wu xing cycle is one in which the elements are in continuous generation, reflected here in the use of pentatonic scales and shifting timbres. The whole deeply affecting. This short, impactful and thoughtful composition, completed in 1999, was a finalist for the 2001 BBC Masterprize Award, deservedly so.

 With a rearrangement of the stage at the Usher Hall swiftly completed, Bruce Liu then took the spotlight for what might be fairly designated an accomplished but not outstanding performance of Ravel’s well-known three-movement Piano Concerto in G, M.83, completed in 1931 but still sounding fresh, intriguing and moving today.

 After a spritely Allegramente, where the changes of direction sometimes sounded slightly less natural than they should have, we arrived at the heart and soul of this wonderful, jazz-inflected concerto. The Adagio assai, with its heart-rending melodic material and restraining tempo, is a piece of aching beauty. It demands every ounce of emotional sensitivity the soloist can muster, such that time and space seem suspended.

 Liu, playing sans score, delivered overall, and then threw himself masterfully at the bold, Presto finale and into a round of rapturous applause from a full house. This was a performance that got stronger as it proceeded. It was followed by a superb encore in the shape of Chopin’s Fantasie-Impromptu in C sharp minor, Op.66. Here Liu was really in his element as winner of the first prize in the 2021 International Chopin Piano Competition. A rare, unprogrammed treat.

 Last but definitely not least, we were treated to a wonderful performance of the famous Saint-Saëns Symphony No. 3 in C minor, Op. 78. Deeply influenced by Liszt, to whom it is dedicated, and to Berlioz, whose shadow can be detected throughout this monumental work, the two-part ‘Organ Symphony’ is best known for those thundering sections which have worked their way into popular culture – not least the spine-tingling eruption of the organ alongside soaring strings and affecting four-handed piano glissandi in the final section, leading to a triumphant C major conclusion. My spine was duly tingled.

 The orchestra, guided by Korean maestro Chung, sans score again, delivered the subtle variations on the restless opening string theme and the Symphony’s overall cyclical elements well. Particular mention should be given to Hansjörg Albrecht’s outstanding organ work, which shook the rafters when required.

 In different ways, these three contrasting pieces from Chén, Ravel and Saint-Saëns all offer fascinating reworkings of traditional materials and forms. They made fine companions, both modern and Romantic, in this concert.  

photo credit: Andrew Perry EIF