Beethoven Piano Concerto No. 3
October 11-14 | 2018
Ruth Reinhardt CONDUCTS
David Fray PIANO
Concert Music for Strings and Brass
Piano Concerto No. 3
King Stephen Overture
Háry János Suite
World-renowned pianist David Fray performing Beethoven, along with the Háry János Suite by Kodály and Hindemith’s bracing and uplifting Concert Music for Strings and Brass.
"[Fray] is an artist we need to hear more of.” The New York Times
Stay after the concerts on October 11-14 to Meet the Musicians and talk about the performance! A cash bar will be open post-concert on the east side of the lobby near the Kelly Panels.
BETTY MARCUS PARK
THURSDAY - SATURDAY
Don't miss the fun - Join us for a cocktail in the newly renovated Betty Marcus Park! A cash bar will be open before the concerts Thursday through Saturday.
EVENT UPDATE: Please note- Betty Marcus Park will be closed for both Friday and Saturday night performances due to inclement weather.
Here's a sneak peek of the music from our Beethoven Piano Concerto 3 weekend - in this archival performance, Guest Conductor Carlo Rizzi leads the DSO with pianist Markus Pawlik.
- Conductor Ruth Reinhardt Led an Imaginative Dallas Symphony Program with Authority and Elegance
by Scott Cantrell, Dallas Morning News
Well, that was a fun concert.
The Dallas Symphony Orchestra has had some gifted and skilled assistant conductors conductors, but I'd vote Ruth Reinhardt the best of my 19 years here. Her two-year contract expired last summer, but happily the DSO is keeping her on to lead a number of concerts this season.
Although she has filled in for former music director Jaap van Zweden, this week's concerts represent her official main-season debut at the Meyerson Symphony Center. As in her ReMix concerts at Moody Performance Hall, she has put together an imaginative program, with clever musical connections that don't immediately suggest themselves. And on Thursday night, she led with clear-headed and sensitive authority.
Two boldly sculpted and colored 20th-century works framed the program: Paul Hindemith's Concert Music for Strings and Brass and Zoltán Kodály's Háry János Suite. At the center were Beethoven's Third Piano Concerto and rarely heard King Stephen Overture. The overture and suite were both excerpted from Singspiel, hybrids of plays and operas, both with suggestions — or more than suggestions — of Hungarian folk songs and dances.
The Hindemith, composed in 1930 for the 50th anniversary of the Boston Symphony, is aptly celebratory, bristling with the composer's trademark counterpoint. When strings are busily working out fugal writing, brasses counter with tart punctuations or more choral effects; elsewhere the roles are reversed. There's also dancelike music, and violas introduce a somber melody. Violins struggled with fast high writing, but otherwise the orchestra made a strong case for the piece.
The Kodály is a great showpiece of orchestral color, from spooky murmurs rising from lower strings to great splashes of brass and percussion. It even includes twangs of a cimbalom, a hammered dulcimer —played nimbly, if not always loudly enough, by percussionist Ronald Snider.
- Reinhardt Gets Dallas Symphony Back on Track with German-Hungarian Program
by Wayne Lee Gay, Texas Classical Review
The gruff, modernist muscularity of Hindemith’s Concert Music for Strings and Brass opened Thursday night’s concert of the Dallas Symphony Orchestra under Ruth Reinhardt at Meyerson Symphony Center. Reinhardt, the orchestra’s assistant conductor for two seasons concluding last spring, was clearly at home with the orchestra, and the musicians responded to her direction with an admirable precision that’s been missing in other performances this season.
The Hindemith work itself was a brave, interesting, and somewhat odd choice for a curtain raiser; written in 1930, it carries the towering polytonal darkness evident in much of the music of that era to an extreme degree. An arching lyricism eventually emerges from the dense textures here, but the overall impression left by Reinhardt’s performance leaned toward the work’s darker aspects.
The German-born Reinhardt followed, however, by reaching further back in the German symphonic repertoire for one of the beloved masterpieces of that canon, Beethoven’s Third Piano Concerto. The soloist, French pianist David Fray has built his reputation in the music of Bach and the Viennese classicists; together with conductor Reinhardt and the orchestra, he produced a luminous and life-filled rendition of the concerto.
In the substantial opening passage for orchestra alone, Reinhardt continued her admirable collaboration with the orchestra to create a perfect balance of Classical-era sensibility and the place of the modern orchestra in a modern concert hall. Fray responded with a silken but beautifully projected lightness in the opening rising scale of the solo part. And, at the moment at which the cadenza of the first movement closes almost unexpectedly, Fray created a delightful sense of surprise and joy.
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