The Dallas Symphony Orchestra (DSO) kicked off its concert series with a world premiere performance of Sean Shepherd’s Quadruple Concerto, highlighting the orchestra’s four principal wind players.
Conducted by music director Fabio Luisi, the concert also included Robert Xavier Rodríguez’s Adagio for small orchestra and Mendelssohn’s Scottish Symphony.
The DSO has a rich tradition of featuring outstanding wind players, and Shepard’s composition showcases the talents of flutist David Buck, oboist Erin Hannigan, clarinetist Gregory Raden, and bassoonist Ted Soluri, all of whom excelled during the performance.
Shepherd, an American composer with degrees from prestigious institutions including Indiana University, the Juilliard School, and Cornell, crafted the 25-minute piece specifically for these talented musicians.
Divided into three movements titled “Strolling Treble,” “Heavy Machinery,” and “Ganymede,” the premiere invited listeners to explore a range of musical expressions.
Despite the implications of the movement titles suggesting a slow-fast-slow format, the overall character of the work remained dynamic and unpredictable.
The orchestration included a variety of instruments, ranging from other winds to a full brass section and an array of percussion, creating rich textures. Rather than solely occupying the solo spotlight typical in concertos, the wind players engage with the orchestra, weaving in and out of the bustling ensemble fabric.
This style reflects a growing trend in contemporary orchestral music, where complex interactions and layered textures dominate the soundscape.
Listeners were treated to both flashy and lyrical passages, and the four soloists rose to meet the demanding parts of Shepherd’s challenging work.
Luisi’s authoritative conducting helped ensure the orchestra navigated the intricate score with confidence, culminating in a shared moment of celebration with the composer on stage during applause.
Before the main event, the concert featured Rodríguez’s Adagio, a piece steeped in dreamy, Copland-esque echoes that served as a delightful prelude to the performance. Written when Rodríguez was a student at the University of Texas at Austin, this work, first debuted by the DSO in 1967, was executed with elegance and emotive flair.
Following intermission, the program continued with Mendelssohn’s Scottish Symphony. While Luisi’s interpretation added vigor to more extroverted sections, some felt the energetic outbursts overshadowed the subtler passages, which could have benefitted from greater clarity and focus.
Despite the masterful execution of the pieces, there were noticeable gaps in the audience.
Although the concert occurred during a period coinciding with Passover and Holy Week, this trend of empty seats in recent concerts has raised questions about the DSO’s programming and marketing strategies.
The evening was marked by a celebration of new music alongside classical favorites, highlighting the DSO’s commitment to innovation while also navigating contemporary audience challenges.
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