Himari Performs with the Chicago Symphony Orchestra

On Feb. 14, 2026, Himari appeared with the Chicago Symphony Orchestra conducted by Jaap van Zweden. Below is the program and my notes from the performance.

Program

Himari with the Chicago Symphony Orchestra — Feb. 14, 2026

Works performed

• Thompson: To See the Sky
• Bruch: Violin Concerto No. 1
• Himari encore: Milstein — Paganiniana
• Mozart: Symphony No. 41 (“Jupiter”)

Notes & reactions

Thompson: To See the Sky

The night started with a new piece for the Chicago Symphony. I have not heard much of Thompson’s work, but I have heard some of the music that influenced his writing—especially Terence Blanchard’s Fire Shut Up in My Bones. What inspired me about Blanchard’s opera is the way it brings jazz and new tonalities into a setting that traditionally conforms to the norm. When I saw Fire Shut Up in My Bones, I could almost imagine the kind of shocking reaction The Rite of Spring provoked at its premiere (this kind of edge is standard for some contemporary works at the Lyric Opera House). Thompson’s piece brought a similar excitement into the concert hall.

At points, I felt hints of Duke Ellington’s Black, Brown, and Beige in the writing, particularly in the use of the brass section. There was also a section that made me appreciate the often overlooked percussion of the CSO—absolutely hypnotizing rhythms. It was a great opener, and I’m curious to dig into more of Thompson’s work. During the performance I also couldn’t help noticing the markings Jaap van Zweden added to his score (photo below); even the greatest artists mark their music.

Bruch: Violin Concerto No. 1

The next item on the program was the iconic Bruch Violin Concerto No. 1. Bruch wrote three violin concertos, but this one is the most played. Aside: I recommend giving No. 2 a chance—it was often championed by golden-age violinists. This staple in the violin repertoire is typically (and maybe unfortunately) seen as a student concerto alongside the Mendelssohn concerto. The melodies are something a listener of any genre can enjoy, but like much of Bruch’s music, there is an important ingredient of personality you have to add to make it sound distinct and convincing.

Himari performed the concerto flawlessly and had excellent command of her sound; she even used some fingerings I found creatively chosen to deliver different colors. Still, I have to agree with some critics who suggested it was a rather boring performance. It hardly showcased Himari’s virtuosity and left less room for her to interpret the piece. When it ended, I caught myself thinking, “What was all the hype about?” I’ve seen many pre-college Juilliard students perform this concerto at a similar technical level.

Encore: Milstein — Paganiniana

My thoughts were completely overturned when Himari came back and started to play Milstein’s Paganiniana as an encore. When she began with the riff from Paganini’s Caprice No. 24, I was excited (I have learned that piece, and it is incredibly challenging technically). My excitement multiplied when I realized it was Milstein’s iconic showpiece. At the age of 14, being able to perform this with such precision is breathtaking. Beyond the technical prowess, I was taken by the colors and details Himari added.

It made me realize the CSO did her a disservice by programming Bruch. She needs time to develop a closer connection with a piece everyone has heard—there has to be a “secret element” added to make it personal. When I left the concert hall, I saw that she’ll be playing Prokofiev’s Violin Concerto No. 2 in G minor, Op. 63 (with the legendary Joe Hisaishi) and Sibelius’s Violin Concerto in D minor, Op. 47 later this year. Having that repertoire in your fingers is no joke, and I couldn’t help wondering what those concertos would have sounded like that night. Ultimately, even if the general consensus was that the Bruch concerto was a little dull, Himari is incredibly talented, and I hope she continues to develop. I would be interested in hearing how her Bruch sounds 5, 10, and even 20 years from now.

Mozart: Symphony No. 41 (“Jupiter”)

The second half of the concert was dedicated to Mozart’s Jupiter Symphony. I thought the symphony was executed excellently. Jaap van Zweden has quite a reputation, and I thought he delivered exactly the sound he wanted from the CSO. I was particularly impressed by the timbre of the flute—it almost sounded as if the principal flutist was playing on a wooden flute. The dynamic and colorful string sections are a staple of any concert with van Zweden conducting; his previous career as a violinist must have given him acute attention to how the strings should sound, and they gave him exactly what he wanted.

Aside: earlier that week, before the Time for Three concert, I went to the CSO gift shop and saw someone who looked incredibly like Jaap van Zweden. We exchanged a look for a couple of seconds because I could not believe the resemblance. I completely forgot that he would be in town. That person was, in fact, Jaap.

Photos / video (optional)

Closing thoughts

This program left me with mixed feelings and a lot of curiosity. Thompson’s opener brought real excitement into the hall, the CSO sounded gorgeous in Mozart, and Himari’s Paganiniana encore was the moment that made me understand the hype. I’ll be paying close attention to how her interpretations deepen over time—especially in repertoire like Prokofiev and Sibelius.