Following is an English recap from a Chinese language programme with Chinese subtitles.
On August 1st, the Hong Kong Cultural Centre played host to the second concert by the newly established Asian Modern Symphony Orchestra—a striking evening that fused classical tradition with bold artistic experimentation. From the thoughtfully curated programme to the orchestra’s youthful dynamism, the performance reflected a growing appetite for redefining classical music in contemporary Asia.
The concert began with Khachaturian’s Spartacus Suite No. 2, a vivid, folk-inflected work brought to life under the baton of Wilson Ng, the orchestra’s co-founder. Particularly memorable were the second and fourth movements, where the ensemble displayed impressive emotional nuance and expressive phrasing. Wu Jiayu, a young conducting student from the Affiliated Middle School of the Shanghai Conservatory, singled out these passages for their refinement and depth.
In the second half, the orchestra turned to Tchaikovsky’s seldom-performed Piano Concerto No. 2, featuring Canadian pianist Bruce Liu. His interpretation was commanding yet sensitive, balancing grandeur with intimacy. A standout moment came in the second movement, where a lyrical exchange between solo violin and cello unfolded with elegance and grace. Liu’s performance showcased both technical brilliance and a finely honed sense of ensemble—qualities that elevated the concerto from a Romantic showpiece into a genuinely moving musical dialogue.
Yet the evening’s most unexpected and provocative moment came in the encore: John Cage’s 4'33". In this infamous piece, Liu sat silently at the piano for four and a half minutes, allowing the ambient sounds of the hall—coughs, whispers, the flutter of programmes, even ushers reprimanding audience members for filming—to serve as the “music.” For some, it was a moment of absurdity; for others, a revelation.
Wu Jiayu considered it more performance art than music, though she noted the expressiveness in Liu’s poised, theatrical stillness. Music critic Rudolph Tang offered a wry observation: the greatest challenge may have been for the audience to sit still in silence for so long. But that, of course, was the point. 4'33" forces listeners to confront what music is—or isn’t—by inviting them to hear silence as sound.
The Asian Modern Symphony Orchestra, made up primarily of young musicians from across Asia (including a strong Korean presence), proved to be a cohesive and sensitive ensemble. Their remarkable control in pianissimo passages stood out, affirming the old adage that a great orchestra is measured not by how loudly it can play, but by how softly. Under Wilson Ng’s direction, the group played with a blend of precision and energy, suggesting not just technical assurance but also a shared artistic vision. Ng’s conducting struck a balance between structure and spontaneity, showing a clear architectural grasp of each work while drawing out expressive detail from every section.
Audience reactions were as diverse as the programme itself. Many were intrigued by their first live experience of 4'33", although some admitted that the shock might wear off on repeat viewings—a paradox that underscores the piece’s ephemeral power. Others were struck by the orchestra’s fresh perspective on familiar repertoire, as well as its multicultural makeup. It felt like a snapshot of Asia’s next generation of classical performers—confident, collaborative, and unafraid to challenge expectations.
In the end, this concert was more than a debut; it was a declaration. By placing Khachaturian’s lush Romanticism alongside Cage’s radical silence, the Asian Modern Symphony Orchestra made a compelling case for a broader, more inclusive definition of classical music—one that honours tradition while embracing reinvention. Set against the glittering skyline of Victoria Harbour, the evening marked the arrival of an ensemble with the courage to take risks and the talent to back them up. If this concert is any indication, the future of orchestral music in Asia is in bold and imaginative hands.
Filmed and interviewed on August 1 in Hong Kong, a talk between Wu Jiayu and Rudolph Tang.
