In a city known for its love of the familiar, the Dallas Symphony Orchestra's recent concert program proved to be a refreshing departure from the norm. Featuring a lineup of lesser-known composers and a guest conductor, the performance challenged the audience's expectations and showcased the symphony's commitment to diversity and innovation.

Defying Expectations, Captivating Audiences

Exploring the Uncharted Territories of Classical Music

The Dallas Symphony Orchestra's latest concert program was a bold departure from the typical fare, with only one well-known composer featured among the three on the bill. This unconventional approach, which could have deterred some concertgoers, instead proved to be a captivating exploration of the lesser-known corners of the classical music landscape.The program served as a warm-up for the DSO's upcoming Women in Classical Music Symposium, an annual event that brings together administrators, educators, composers, musicians, and conductors to discuss the challenges and opportunities facing women in the industry. Appropriately, the concert featured a strong female presence, with Estonian conductor Anu Tali leading the orchestra, American pianist Anne-Marie McDermott as the soloist, and compositions by the contemporary Estonian Alisson Kruusmaa and the turn-of-the-20th-century American Amy Beach.

Delicate Textures and Piquant Harmonies: Kruusmaa's "Five Arabesques"

Kruusmaa's "Five Arabesques," completed in 2001, offered a captivating contrast to the typical bold and flashy new works. Scored for strings only and lasting 18 minutes, the piece was a study in subtlety, with delicate strands of sound, gentle gestures, and richly piquant harmonies that seemed to search for a melody. The DSO strings navigated these delicacies with precision, though Tali's extravagant conducting gestures at times appeared at odds with the hushed, carefully rehearsed sounds.

Rediscovering the Brilliance of Amy Beach

The concert also shone a spotlight on the work of Amy Beach, a celebrated composer and virtuoso pianist from the turn of the 20th century. Despite being largely self-taught, Beach composed a substantial body of work, including chamber music, piano pieces, and art songs. Her Piano Concerto, written in 1899, the same year as Elgar's "Enigma Variations," was a late romantic extravaganza that displayed her full command of harmony, texture, and orchestration.The piece, which incorporated melodies from Beach's art songs, was brought to life with remarkable commitment and brilliance by pianist Anne-Marie McDermott, with Tali and the orchestra providing enthusiastic collaboration. The work's lush lyricism and pianistic thunders and sparkles captivated the audience, though the first movement's length did test the patience of some.

Elgar's "Enigma Variations": A Nuanced Interpretation

Rounding out the program was Elgar's beloved "Enigma Variations," a work that has long been a staple of the classical repertoire. Tali's interpretation of the piece was marked by apt tempos and some exquisite effects, particularly in the "Dorabella" variation, where she coaxed sweet, stammering notes from the orchestra.However, Tali's strenuous conducting at times resulted in sonic assaults that felt more Straussian than Elgarian, and she often spotlighted individual instruments and sections when a more integrated approach would have been more fitting. Elgar's music, with its subtle nuances, requires a delicate touch, and Tali's interpretation at times veered too far into the realm of the bombastic.Despite the occasional misstep, the Dallas Symphony Orchestra's concert was a testament to the ensemble's willingness to embrace the unexpected and challenge the status quo. By programming a lineup of lesser-known composers and featuring a strong female presence, the DSO demonstrated its commitment to diversity and innovation, captivating the audience with a program that defied conventions and offered a fresh perspective on the classical music canon.