The power of individuality: Bruce Liu journeys through the seasons at Carnegie Hall

Bruce Liu rose to international prominence after winning the prestigious International Chopin Piano Competition in Warsaw in 2021. Since then, through both performances and recordings, the Canadian pianist has skilfully avoided being typecast as a Chopin specialist, showcasing his artistry in French repertoire and now, in his second Carnegie Hall recital, exploring the expressive depths of Russian music.

His choice to anchor the programme with Tchaikovsky’s The Seasons was uncommon, as the set of twelve character pieces – so far removed from the bombast and flamboyance often present in his larger works – is rarely performed in its entirety. Additionally, he divided the cycle, each independent gem evoking the moods and imagery of a specific month, into two groups placed on either side of the interval.

Liu’s interpretation blended poetic sensitivity with technical finesse, elevating Tchaikovsky’s charming miniatures beyond their salon origins, while underscoring the composer’s fantastical gift for melody. In January: At the Fireside, Liu highlighted the lied-like quality of the middle section, a poignant foreshadowing of Lensky’s aching aria in Eugene Onegin. In February: Carnival, his buoyant approach captured the festive energy of a Shrovetide celebration, reminiscent of Mussorgsky’s vivid portrayals of folk festivities. Liu brought a conversational quality to June: Barcarolle, emphasising its wistful delicacy, while his nimble articulation in August: Harvest conveyed a brisk vitality. October: Autumn Song leaned toward a Chopin-like melancholy, underscored by thoughtful dynamic shaping. Throughout the performance, his nuanced phrasing and delicate rubato provided a unifying thread, evoking a serene, Schumannesque intimacy that allowed genuine sentiment to flourish without ever lapsing into sentimentality.

Intriguingly, Liu didn’t just split The Seasons into two halves; he intercalated other works between them. Earl Wild’s arrangement of the Dance of the Four Swans from Swan Lake was a natural addition, as the two works share a compositional connection – Tchaikovsky worked on The Seasons while completing the orchestration of his ballet.

Scriabin’s concise Piano Sonata no. 4 in F sharp minor, with its two contrasting movements, was a more unexpected choice. The lyrical, song-like Andante echoed Tchaikovsky’s expressive romantic melodies, with Liu highlighting the music’s warmth and introspective character, effectively building a bridge back from Scriabin’s 1903 score to Tchaikovsky’s earlier stylistic world. In contrast, the ecstatic, transcendental second movement embodied a different kind of journey – one that abandoned narrative qualities for spirituality and metaphysical exploration. Liu’s emphasis on lush chromaticism and the dissolution of tonal centres offered a fresh perspective, marking a striking departure from Tchaikovsky’s grounded lyricism.

Delving into Prokofiev’s Seventh Sonata, Liu offered a view that eschewed over-reliance on anguish and vehemence. In the Allegro inquieto, he shifted the focus from sheer aggression to an impactful, deliberate build-up, while still capturing the movement’s inherent instability. His Andante caloroso unfolded with lyrical warmth, prioritising tonal richness and depth over heightened dramatic intensity. The Precipitato Toccata, often delivered as a devilish sprint, highlighted Liu’s emphasis on textural clarity, each note impeccably articulated amid the relentless drive.

There were four encores. Two posthumous works by Chopin – the reserved Valse no. 19 in A minor and the mesmerising, polyrhythmic Fantaisie-Impromptu in C-sharp minor, Op. 66 – were followed by Rameau’s Les Cyclopes, played with exquisite ornamentation. Finally, Scott Joplin’s Maple Leaf Rag brought a playful conclusion, highlighting the jazzy inflections that permeated Prokofiev’s Precipitato movement and were even hinted at in the harmonic shifts and angular melodic gestures of Scriabin.

Bruce Liu may not always build consensus easily, yet he is a profoundly original artist whose blossoming career warrants close attention.