CBSO/Yamada review – Poulenc and Adams pairing is stylish, witty and thrilling

The City of Birmingham Symphony Orchestra (CBSO) and Chorus, under the leadership of their chief conductor Kazuki Yamada, presented a "stylish, witty and thrilling" concert at London's prestigious Royal Albert Hall. The program was distinguished by its ambitious and insightful pairing of the French composer Francis Poulenc, renowned for his wit and elegance, with the American minimalist John Adams, celebrated for his epic and emotionally charged works. This juxtaposition aimed to explore the diverse expressive capabilities of classical music, contrasting Poulenc's "slipperiest, most self-puncturing" style with Adams' "monumental" sonic landscapes.

The concert opened with Poulenc's "Sinfonietta," composed in 1948. Poulenc, known for his playful subversion of traditional forms, deliberately titled the work "Sinfonietta" to preempt any "delusions of grandeur," instead presenting a collection of "impeccably shaded and textured dances, marches and melodies." This piece exemplifies Poulenc's characteristic avoidance of conventional symphonic development, opting instead for a series of charming and expertly crafted movements that "thumb their nose at anything so dutiful as development." The review highlights this as a testament to Poulenc's unique ability to blend sophisticated musicality with a disarming sense of humor.

Adding to the program's dynamism was the performance by piano duo Lucas and Arthur Jussen, who brought "fun and energy" to Poulenc's Concerto for Two Pianos. This concerto, a vibrant showcase for two soloists, allowed the Jussen brothers to demonstrate their virtuosity and engaging stage presence, complementing Poulenc's lighthearted yet intricate writing.

The second half of the concert featured John Adams' "Harmonium," an epic 1980 work that the review describes as "monumental and moving." Adams' "Harmonium" is a significant piece in the minimalist repertoire, known for its "sonic wrestle with love and death and desire." The work draws on texts from the poetry of Emily Dickinson and John Donne, creating a powerful and often overwhelming musical experience that explores profound human emotions. The CBSO and Chorus, under Yamada's direction, were tasked with navigating the intricate textures and immense scale of Adams' composition, aiming to capture both the hypnotic qualities and the thrilling intensity often associated with American minimalism. The review notes the intriguing question of whether such music can elicit laughter, a trait more commonly linked to composers like Poulenc, suggesting that Adams' work, while capable of immense power, operates in a different emotional sphere. Yamada's conducting was central to the success of the program, guiding the orchestra and chorus through the demanding repertoire with precision and interpretive depth, ultimately delivering a concert that was both intellectually stimulating and emotionally resonant.