On 2 November Thomas Adès conducted the new version of his Concerto Conciso with Ensemble intercontemporain at the Théâtre des Bouffes du Nord, Paris. The soloist was Mizuki Ono, winner of the 17th International Piano Competition of Orléans, in which the 10-minute work for piano and chamber ensemble was a set work and performed by the three finalists on 31 October in Orléans itself, also conducted by the composer.
The new iteration of the quicksilver piece – first performed by Adès and the Birmingham Contemporary Music Group in 1997, with the composer directing from the keyboard – features expanded piano writing that enhances the concertante character of the soloist’s role, turning an unconducted work into a conducted one. It premiered at La Jolla Music Society in August 2026, with Adès himself at the keyboard and Stephanie Childress on the podium. Writing in San Diego Story of the premiere, Ken Herman noted the work “displays the composer’s trademark acerbic, static textures and short, crackling thematic motifs”.
It is cast in two movements, the first of which sees the pianist in a semi-restricted role as a kind of continuo player, albeit with soloistic flourishes; in the second – a slow ciacconetta followed by a tempestuous brawl – their virtuosity is released, and the soloist takes centre stage.
In November Adès returned to the London Symphony Orchestra to conduct two programmes; on 5 November Bertrand Chamayou joined the orchestra for In Seven Days, Adès’ evocation of creation for piano and orchestra, alongside works by Sibelius and Per Nørgård; on 8 November he conducted the recently-expanded version of America: A Prophecy¸ with Anna Dennis as soloist and the London Symphony Chorus. The apocalyptic 21-minute work – which sets abstruse, darkly oracular selections of the Mayan Chilam Balam alongside triumphalist accounts of the conquistadores and the Gospel of St John – received its UK premiere from the composer with The Hallé in March 2025.
On 19 November Adès returns to Manchester to give his first concert as the orchestra’s Principal Guest Conductor – Adès’ first formal conducting post – performing Asyla and These Premises Are Alarmed (commissioned 30 years ago to celebrate the opening of the Bridgewater Hall), alongside the UK premiere of Gabriella Smith’s How To Be A Bird with violinist Pekka Kuusisto.
On 4 November Adès was also announced as the next John and Samantha Williams Creative Chair for New Music at the Philharmonic, succeeding John Adams, who has held the post for seventeen years.