The Dallas Chamber Symphony continues to make waves in the classical music scene. This veteran concertgoer's experience at the Tuesday night concert in Moody Performance Hall was nothing short of remarkable. The hall was well-filled, showcasing the DCS's ability to attract audiences that don't typically attend classical music concerts. The concert offered an imaginative program and mostly fine performances.

Experience the Magic of the Dallas Chamber Symphony

Richard McKay and the String Orchestra

Led by music director Richard McKay, the group presented itself as a string orchestra of around 30 players. This unique setup added a new dimension to the performances. The young American pianist Christopher Goodpasture took on the role of soloist in the first half of the program. His performance in the 1931 Rapsodia sinfónica by Spanish composer Joaquín Turina was a lively opener. Spanning about 10 minutes, it balanced splash, sparkle, and lushness, with the Spanish spirit unmistakable and influences from his studies in Paris shining through. Goodpasture and McKay collaborated seamlessly, displaying both pizzazz and poetry. However, some inconsistently polished playing from violins was a recurring issue throughout the concert.

The Franz Liszt Malédiction

Franz Liszt composed his early Malédiction as a showpiece for his virtuoso pianism. At times, the music seemed to fling out curses, while at other times lurking in spooky shadows. It also made room for a happy little dance, leaving one to wonder if it was happiness recalled in sorrow. Goodpasture stormed through thundering chords and dispatched showy runs with great flair. He had the right light touch when needed. McKay and the orchestra matched him for drama and expressivity, although there were some fudging issues with at least a couple of violins in high writing.

Gustav Mahler's String-Orchestra Arrangement

In Gustav Mahler's string-orchestra arrangement of Schubert's Death and the Maiden String Quartet, some violin issues were more difficult to overlook. There were just enough vaguely aimed top notes to make one wonder when the next ones would come. However, the rest of the strings performed admirably. Given the strong bass response in Moody Performance Hall, one might have wondered if one double bass would have been sufficient instead of three. Even when writing for string quartet, Schubert's music feels in vocal phrases, and McKay led a spirited, shapely performance.

The Importance of Stage Talk

Especially for an audience less accustomed to classical music concerts, a bit of talk from the stage can add a human touch. Before each of Tuesday's three pieces, there was talk from an enthusiastic board member, Goodpasture, and finally McKay. Goodpasture came across as friendly, but he rambled on about the Liszt. Had it been half as much and carefully edited, it would have been much better. Even with half as much talk, it would have been natural to add that the Schubert/Mahler is in four contrasted movements meant to be heard as a continuity and that applause should be held until all four movements have been played.

Lighting for the Program

May we have enough light to read the program during the concert? This simple request highlights the need for proper lighting in a concert setting to enhance the overall experience for the audience.