Backstage Pass: Bruce Liu on Ravel’s Piano Concerto

You’ve performed with the Philharmonia many times, and we were last together in the UK for your BBC Proms debut in 2025. What do you enjoy about working with the Philharmonia, and how does it feel to return?

Returning to this orchestra always feels very natural and inspiring for me. From the first time we played together I felt a real sense of curiosity and openness from the musicians. They listen very deeply to each other, and to the soloist, which creates a wonderful environment where the music can breathe. What I most enjoy about working with them is their flexibility and colour; the orchestra can move so easily between power and delicacy, which allows a lot of freedom in shaping the interpretation.
Coming back to work with the Philharmonia feels like returning to friends; there is already an understanding between us which allows us to go deeper into the music together each time we meet.

How would you describe Ravel’s Piano Concerto to someone who has never heard it before?

I like to think of the three movements as desserts! The first movement is like a lemon tart: bright and zesty, and a little playful! The second is more like a vanilla cranberry cake, very smooth and delicate, with a long line that slowly melts… and the last movement is perhaps an espresso chocolate cake! Small, intense and full of energy, it arrives very fast and leaves you a little breathless…

How do you think Ravel fits in this programme? What new insights might listeners hear?

It’s a really fun contrast because Ravel brings colour and a bit of jazz, while Britten and Tchaikovsky show very different sides of orchestral drama and emotion. Listeners might notice how Ravel’s clarity and elegance highlight the richness of the other words, enabling Tchaikovsky’s music to feel even more passionate and expansive. It’s like hearing three completely different musical languages in one evening!

What is your favourite thing about life as a pianist?

I get to spend my life doing something I love, which is an amazing privilege. I get to travel the world and communicate without words; music is a universal language, meaning that wherever I go, I can communicate something very personal with the audience.

Coming back to work with the Philharmonia feels like returning to friends.