Tag Archives: Kazuki Yamada

In Concert – Stewart Goodyear, CBSO / Kazuki Yamada: Gershwin, Ives, Simon & Mazzoli

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Stewart Goodyear (piano, above), City of Birmingham Symphony Orchestra / Kazuki Yamada

Simon Hellfighters’ Blues (2024)
Mazzoli Sinfonia (for Orbiting Spheres) (2014)
Gershwin Rhapsody in Blue (1924)
Ives ed. Sinclair Three Places in New England (1911-14)
Gershwin An American in Paris (1928)

Symphony Hall, Birmingham
Wednesday 21 January 2026

Reviewed by Richard Whitehouse

The heady interplay of jazz and blues idioms (with a little help from pioneer W. C. Handy) of Carlos Simon’s Hellfighter’s Blues launched in exhilarating fashion this City of Birmingham Symphony Orchestra concert, pertinent as the 250th anniversary of American Independence approaches.

Missy Mazzoli’sSinfonia (for Orbiting Spheres) could not have been further removed with its formal parallel to that of the solar system; an abstraction offset by the ‘sinfonia’ connotations of a Medieval hurdy-gurdy whose modal drone, recreated here with harmonicas played by the horns and woodwind, underlies the piece’s increasing velocity. That this suggested a tangible connection with the past and, at the same time, absorbed accrued influences into an idiom of today said much about the effectiveness of Mazzoli’s modus operandi these past two decades.

It could have been a conceptual leap too far from here to Gershwin’s galvanizing of the ‘jazz age’ aesthetic almost a century earlier yet Rhapsody in Blue has lost but little of its edge in the interim, especially as Stewart Goodyear rendered its solo part with almost reckless enjoyment. With almost every focal point either underlined or rendered in inverted commas, this was not the subtlest of performance, but Kazuki Yamada was at one with his pianist in conveying the breezy excitement of this music, with the final stages emerging as a high-octane apotheosis. Goodyear is evidently a pianist with whom to reckon – maybe his next appearance will find him tackling Gershwin’s Piano Concerto in F? For the present, he gave the slow movement of his own Piano Sonata (1996), poised midway between Copland and Piston, as plaintive encore.

Whatever his radical tendencies, Charles Ives embodies the ethos of an earlier age (Michael Tilson Thomas aptly described him as America’s greatest late-Romantic composer), such as felt uppermost with Yamada’s take on Three Places in New England. So the intensifying of feeling in The ‘St. Gaudens’ at Boston Common was secondary to a distanced recollection of time, while the elaborate march-fantasy that is Putnam’s Camp, Redding, Connecticut was genial rather than boisterous – albeit until its accumulation of activity for an ending of visceral abandon. The Housatonic at Stockbridge yet which left the deepest impression –   its fervent evocation of place from the vantage of marital bliss duly inspiring a welling-up    of emotion which not even Yamada’s slight over-hastiness could rob of its sheer eloquence.

An American in Paris might have been an awkward piece with which to close, but succeeded well on its own terms. Something between tone poem and symphonic rhapsody. Gershwin’s evocation of a compatriot (himself?) a little lost in the French capital received an impulsive yet perceptive reading. There was a start-stop feel to its earlier stages, while Oscar Whight’s rather forced take on the indelible trumpet melody was to its detriment, but what ensued was rarely less than persuasive – not least those final bars with their tangible sense of resolution.

It certainly brought to a resounding close a concert which conveyed much of the sheer variety of American music across little more than a century. Hopefully Yamada will programme more of this repertoire – perhaps an Ives symphony or music by the late, great Christopher Rouse?

To read more about the CBSO’s 2025/26 season, visit the CBSO website. Click on the names for more on pianist Stewart Goodyear, CBSO chief conductor Kazuki Yamada and composers Missy Mazzoli and Carlos Simon

Published post no.2,777 – Saturday 24 January 2026

In Concert – Peter Moore, CBSO / Kazuki Yamada: Dai Fujikura & Mahler

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Peter Moore (trombone), City of Birmingham Symphony Orchestra / Kazuki Yamada (above)

Mahler Blumine (1884)
Fujikura Trombone Concerto ‘Vast Ocean II’ (2005/23) [UK Premiere]
Mahler Symphony no.1 in D major (1887-88, rev. 1889-98)

Symphony Hall, Birmingham
Thursday 15 January 2026

Reviewed by Richard Whitehouse Photo (c) Andrew Fox

Mahler has not been absent from the City of Birmingham Symphony Orchestra’s schedule since those halcyon years of Simon Rattle, though even he never undertook a chronological traversal of such as the orchestra’s current music director Kazuki Yamada duly commenced this evening.

Although the First Symphony was heard in its customary four-movement version as finalized for a Vienna performance in 1898, the so-called Blumine taken over from earlier incidental music and included as second movement in the earliest performances was given as an entrée to this concert. With its lilting trumpet melody – effortlessly unfolded by Holly Clark – and its aura of rapt inwardness, this elegant intermezzo was audibly out of place given the transition from symphonic poem to symphony, but it retains an appeal that was winningly evident here.

Two years ago Yamada and the CBSO gave the premiere of Wavering World by Japanese-born composer Dai Fujikura, and it was heartening to see the association continued with this first hearing in the UK for Vast Ocean II. Not so much a reworking as the reconceiving of a piece from 18 years earlier, this trombone concerto unfolded within the context of an orchestra rich in alluring sonorities yet streamlined in texture. This latter entered gradually while remaining focussed on (if never beholden to) a soloist whose role is almost that of a ‘cantus firmus’ that guides the music, through waves of increasing activity, towards a fervent culmination before a suspenseful closing evanescence. It helped to have in Peter Moore a soloist who manifestly believed in the music and contributed greatly to the impact of this memorable performance.

And so to Mahler’s First Symphony that, following on from Yamada’s accounts of the Fourth and Ninth in recent seasons, drew a suitably visceral response from conductor and orchestra. Not that this traversal was without failings: the ‘coming of spring’ in the opening pages was unerringly judged, as too the transition into its genial main theme, though this first movement rather lost focus in the mounting intensity of its final stages which felt rather rushed through. There were no provisos about a scherzo whose impetuous outer sections found ideal contrast with its ländler-informed trio of winning poise. The ensuing funeral march was equally well judged, bassist Anthony Alcock setting in motion this unlikely processional whose pathos is tinged by irony and even ambivalence before its jaunty climax then withdrawal into silence.

Launched with piercing clamour, the finale may ultimately have been no more than the sum of its parts, but the best were indeed memorable. So if the expressive second theme sounded overly generic, the approach to the central peroration was astutely handled, with the hushed recollection of earlier ideas never less than spellbinding. Nor was the stealthy build-up to the apotheosis lacking purpose, even if this latter emerged as less than majestic given Yamada’s headlong rush to those brusque closing chords. Audience response was accordingly effusive.

One person who would no doubt have wanted to be present was Andrew Clements, who died just four days earlier. A regular CBSO reviewer for the Guardian, his laconic while considered observations were always centred on the premise that music, whether in or of itself, mattered.

To read more about the CBSO’s 2025/26 season, visit the CBSO website. Click on the names for more on trombonist Peter Moore, CBSO chief conductor Kazuki Yamada and composer Dai Fujikura

Published post no.2,770 – Saturday 17 January 2026

In concert – Jonathan Kelly, CBSO / Kazuki Yamada: Richard Strauss – Tod und Verklärung, Oboe Concerto, Also sprach Zarathustra

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Jonathan Kelly (oboe), City of Birmingham Symphony Orchestra / Kazuki Yamada

Richard Strauss
Tod und Verklärung Op.24 (1888-9)
Oboe Concerto in D major AV144 (1945)
Also sprach Zarathustra, Op.30 (1896)

Symphony Hall, Birmingham
Wednesday 10 December 2025

Reviewed by Richard Whitehouse Picture of Jonathan Kelly (c) Stefan Hoederath

Richard Strauss is among a relatively select number of composers, the range and breadth of whose output makes it suitable for a whole programme – as was evident from this evening’s concert by the City of Birmingham Symphony Orchestra and music director Kazuki Yamada.

Never one to miss such an opportunity, Strauss had evidently conceived his tone poem Death and Transfiguration in the wake of illness only to extend its remit accordingly. Yamada duly had its measure: whether in the not so stark fatalism of its opening pages, the tussle with his approaching demise audibly relished by the protagonist then emergence of that transfiguring state which, after the brief and rather jarring interjection of earlier angst (no more convincing here than almost any other performance) sees this work through to a fervent culmination then on to its beatific close. Not consistently more than the sum of its best parts, and with internal detail sometimes obscured in the onslaught of its vehement tuttis, this was still an involving account – lessened not a jot by its underlining Strauss’s enjoyment of his emotional strivings.

Onward 46 years to the Oboe Concerto the ageing composer wrote at the promptings of US army corporal and professional oboist John de Lancie. Much the finest of those concertante pieces from Strauss’s ‘Indian summer’, its three movements merge into the finely balanced continuity that Jonathan Kelly (above) – making a welcome return to the orchestra of which he was solo oboist during 1993-2003 – relished throughout. The elegance of its initial Allegro here abetted by a degree of nonchalance, as was the poise of its Andante with deftest pathos, his reading came into its own in a Vivace whose cadenza passages were as eloquent as the coda that Strauss duly extended to make this movement an unerring fusion of scherzo and finale. Kelly understandably offered no encore, but he returned to join the CBSO after the interval.

That second half consisted of Thus spake Zarathustra – if not the most ambitious of Strauss’ tone poems in size then surely in scope, whether or not the depths of Nietzsche’s existential musings are really plumbed. The indelible ‘Sunrise’ treading a fine line between profundity and portentousness, Yamada charted its idiosyncratic journey toward spiritual enlightenment with a sure sense of where this music was headed – no matter that the outcome felt as much   a glorification of orchestral power and opulence as of anything more intrinsically humane.

Highlights during its course included the sustained emotional force in ‘Of Joys and Passions’, the textural unanimity of the strings across their fugal writing in ‘Of Science and Learning’, and suavity then mounting animation of ‘The Dance Song’ with leader Eugene Tzikindelean in his element – before ‘Song of the Night Wanderer’ brought proceedings down from their orgiastic heights into that sombre repose whose tonal inconclusiveness may be an indicator  of Strauss’s own perspective; the certainly of those opening bars left pointedly unresolved.

Its pizzicato chords on lower strings made a telling farewell for Eduardo Vassallo, principal cellist throughout much of the past 36 seasons. His broad sympathies including Argentinian tango, and a characterful Don Quixote to boot, leaves players and listeners alike in his debt.

Published post no.2,747 – Saturday 13 December 2025

For more on the CBSO’s season for 2025/26, head to the CBSO website – and for more on the artists in this programme, click on the names to visit the websites of conductor Kazuki Yamada, oboist Jonathan Kelly and principal cellist Eduardo Vassallo

CBSO in the City 2025: Birmingham Comes Alive with a Week of Free Orchestral Events in Unexpected Places

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The CBSO performing in the Bullring, Birmingham.

From the press release:

The City of Birmingham Symphony Orchestra (CBSO) returns this summer with its acclaimed week-long musical takeover, CBSO in the City. Running from Wednesday 23 to Monday 28 July 2025, this much-anticipated second edition reaffirms the CBSO’s commitment to reach new audiences across the West Midlands and develop deeper connections with the city it calls home.

Building on the success of 2024’s inaugural CBSO in the City, which saw over 25 free performances in iconic and everyday locations across Birmingham, the 2025 programme blends rich musical experiences with moments of joyful spontaneity – taking the orchestra out of the concert hall and into the heart of the community.

This year’s festival offers an exciting series of free, un-ticketed performances right across the city, bringing CBSO musicians to some of Birmingham’s most recognisable venues. Highlights include:

New Street Station: pop-up performances for commuters

Library of Birmingham: including a space-themed family concert & string quintet with sitar in their wellbeing space

Ikon Gallery and RBSA Gallery: showcasing chamber groups in gallery settings

Birmingham Museum & Art Gallery: featuring flute and harp duets

Birmingham Botanical Gardens: string quartets & wind quintets in serene garden surroundings

Black Country Living Museum: brass quintets adding musical flair to the historic setting

West Midlands Metro: a clarinet trio bringing music on the move

Each performance is designed to meet audiences where they are – whether in transit, at leisure, or exploring with family – while showcasing the full diversity of the orchestra. From Star Wars and Brahms in New Street Station, to strings & winds among the blooms at Birmingham’s Botanical Gardens, a string quartet at the Ikon Gallery, and even a clarinet trio riding the West Midlands Metro.

As part of the celebrations, the orchestra is calling on Birmingham residents to nominate their street for the chance to host an unforgettable pop-up performance later this year.

CBSO Music Director Kazuki Yamada (above) leads the spirit of this initiative. He says: “For me, music is about connection. Taking the orchestra outside the concert hall helps us meet people where they are – and share something powerful, beautiful and unexpected.”

CBSO Chief Executive Emma Stenning adds: “CBSO in the City promises to once again fill Birmingham with incredible music, reimagining the city’s spaces as stages for celebration and musical discovery. From familiar faces to new friends, we’re excited to delight audiences, share special moments, and celebrate the vibrant spirit of our city. We believe music is for everyone – and this is one of the most joyful ways we bring it to life.”

CBSO in the City is generously supported by John Osborn CBE and NBB Law.

While all events are free and unticketed, standard admission applies at the Birmingham Botanical Gardens, RBSA Gallery, and Black Country Living Museum.

Full event listings and times can be found at the CBSO website

Published post no.2,591 – Thursday 10 July 2025

In concert – Sheku Kanneh-Mason, CBSO / Kazuki Yamada: Elgar Cello Concerto & Tchaikovsky Symphony no.5

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Sheku Kanneh-Mason (cello), City of Birmingham Symphony Orchestra / Kazuki Yamada

Elgar Cello Concerto in E minor Op.85 (1919)
Tchaikovsky Symphony no.5 in E minor Op.64 (1888)

Symphony Hall, Birmingham
Thursday 19 June 2025 2:15pm

Reviewed by Richard Whitehouse Picture of Sheku Kanneh-Mason (c) Andrew Fox

The City of Birmingham Symphony Orchestra’s ‘Season of Joy’ ended (at least at its home base) this afternoon with this concert in E minor, featuring major works by two composers whose wresting triumph from out of adversity was by no means always their strongest suit.

It is all too prevalent these days to talk of Elgar’s Cello Concerto as being the ‘end of an era’ statement, so credit to Sheku Kanneh-Mason for leavening any overt fatalism with a lyrical intensity which paid dividends in the musing restiveness of the first movement – its indelible opening gesture rendered with an understated defiance that set the course for what followed. Nor was the Scherzo’s glancing irony at all undersold, its tensile energy seamlessly absorbing the mock nobility of its secondary theme on the way to a conclusion of throwaway deftness.

Others may have summoned greater fervency from the Adagio, yet Kanneh-Mason’s unforced poise in this ‘song without words’ was its own justification and an ideal entrée into the more complex finale. Especially impressive was his methodical while never calculated building of tension towards a climax of tangible emotional intensity, capped with the terse stoicism of its coda. Kazuki Yamada and the CBSO were unfailingly responsive in support. Kanneh-Mason returned with the 18th (Sarabande) of Mieczysław Weinberg’s 24 Preludes (1969) as a sombre encore.

If to imply that by being his most ‘classical’ such piece, Tchaikovsky’s Fifth Symphony may also be his most predictable, Yamada evidently had other ideas. Certainly, there was nothing passive about the first movement’s scene-setting Andante, Oliver Janes palpably ominous in its ruminative clarinet theme. A smattering of over-emphases in phrasing just occasionally impeded the Allegro’s rhythmic flow but was outweighed by the gripping spontaneity of the whole. Even finer was the Andante cantabile, as undulating lower strings launched french horn player Elspeth Dutch’s eloquent take on its ineffable main melody. The eventual climax was curtailed by a brutal intrusion of the ‘fate’ motto, before the music subsided into its calmly regretful close. Whether or not Tchaikovsky’s greatest slow movement, Yamada’s reading made it seem so.

Interesting this conductor made an attacca to the ensuing Valse, which proved effective even if one between the first two movements would have been even more so. Whatever its laissez-faire elegance, this cannily structured movement is more than a mere interlude – not least for the way the motto steals in at its close. Yamada ensured it connected directly into the Finale’s slow introduction, its fervency reined-in so as not to pre-empt the energy of the main Allegro as it surged toward one of the most theatrical ‘grand pauses’ in music. Taking this confidently in its stride, the CBSO was equally in control of an apotheosis whose grandiloquence never risked overkill. The charge of insincerity that its composer found hard to refute might never have gone away, yet heard as an inevitable outcome, this was pretty convincing all the same.

It found the CBSO in formidable shape as it embarks on a two-week tour of Japan under its music director. A handful of UK concerts (including an annual appearance at the Proms) then precedes next season which begins with more Elgar in the guise of The Dream of Gerontius.

For details on the 2025-26 season, Orchestral music that’s right up your street!, head to the City of Birmingham Symphony Orchestra website. Click on the names to read more about soloist Sheku Kanneh-Mason and conductor Kazuki Yamada

Published post no.2,571 – Saturday 21 June 2025