Texas Classical Review on Orli Shaham and the DSO

April 29, 2019
By Wayne Lee Gay

Guest conductor David Robertson presented a thought-provoking and ultimately thrilling all-twentieth-century program with the Dallas Symphony Orchestra at Meyerson Symphony Center Thursday night. The orchestra and guest pianist Orli Shaham rose to impressive heights, and Robertson’s command of the forces at hand, the structure of the music, and the acoustical properties of the room was evident.

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Between the two Stravinsky works, pianist Shaham joined the orchestra for Bernstein’s Symphony No. 2 for Piano and Orchestra, “The Age of Anxiety.” Named for W.H. Auden’s long, soul-searching poem of 1947, the work — also arriving with its young composer on the brink of stardom — contains almost a surplus of musical riches, with an innovative structure and an array of musical forms ranging from tone rows to jazz.

The opening movement uses that most obvious and, for audiences, understandable structural device, a set of variations, but cloaks the variations in deliberate obscurity. The second movement storms, rages, and mourns, with a long side journey into a jazz district. The orchestration as a whole is quite Stravinskian, with equal attention from Bernstein to beautiful sounds and striking effects. The composer ten years later of West Side Story is much in evidence here, though one couldn’t help wishing he had been more concise in this earlier work.

As always with Bernstein, the listener can sense the composer’s ego and presence in the music; Bernstein himself admitted that the symphony’s piano part was “autobiographical.” Shaham maneuvered skillfully through the maze of styles and technical issues: one variation a simple, long scale for piano; others relentlessly repetitive; some sections almost Chopinesque.

Shaham and Robertson, with help from a flawless orchestral performance, created the sense of a musical event — if not a masterpiece, at least a brave work by an emerging musical genius. Flanked by Stravinsky, the Bernstein symphony as heard on Thursday proclaimed the richness of classical music’s sometimes maligned 20th Century.

Read the whole review at this link.