Des Moines Symphony offered another crowd-pleasing performance last month with the second installment of their Masterworks series, Wisdom – Dvořák 6 & Chopin. Their program once again featured a modern piece by a living composer as well as celebrated works from two titans of the Romantic era. Truly a refreshing balance of the old and the new.
The symphony kicked off the evening with Chokfi’ by Jerod Impichchaachaaha’ Tate. This was the first time the symphony performed a work written by an Indigenous composer, a fitting debut considering Indigenous Peoples Day took place within the same week of the performance. Chokfi’ is the Chickasaw word for rabbit, and Tate’s music playfully brought the legendary trickster to life. His orchestration featured only the strings sections of the orchestra and two percussionists, but Tate utilized small numbers effectively. The strings demonstrated true versatility, sharp and percussive one moment, then dreamy and shimmering the next. Despite the short run time of Chokfi’, Tate managed to pack in musical moments that felt large and cinematic. It’s such a fun and unpredictable journey, all in the span of less than 10 minutes!
The second piece on the program was Frédéric Chopin’s Piano Concerto No. 2 in F Minor, Op. 21, featuring guest pianist Lukáš Vondráček. Chopin is best known for his more intimate piano works, but he wrote this concerto to establish his career as a professional performer. A larger orchestral work would help the young pianist reach a larger audience, and while this piece is not as flashy as concertos written by other renowned pianists, Chopin puts virtuosic skills on full display in this subtler work.
The orchestra was not often at the forefront of this concerto. Sometimes I was too engrossed by Vondráček’s performance to even notice the symphony behind him. Often they did not play at all beneath the pianist, but when they did, the pared down ensemble served as a canvas upon which the soloist could thrive.
Vondráček demonstrated true mastery of his craft. His flourishes were so smooth and articulate that he made even the most difficult passages sound effortless. Vondráček also treated the audience to an encore performance after the concerto was complete — another piece by Chopin that was well suited to the pianist’s deceptively fast fingers.
The evening ended with Antonín Dvořák’s Symphony No. 6 in D Major, Op. 60, an evocative piece that finally gave the full symphony a chance to shine. Dvořák’s lush orchestration and expansive melodies are always a breathtaking reminder of the power of live performance. Recordings just can’t do his symphonies true justice. From an opening movement that was bursting with energy all the way to the exhilarating finale, the orchestra was truly in their element. I’m sure Dvořák would be pleased to know his music is still being celebrated in the state he called home for one summer back in 1893. His legacy is alive and well.
Overall, Des Moines Symphony delivered a satisfactory program of diverse music, honoring composers from the past and present. Aside from the chorus of coughs that plagued the audience (cold and flu season is upon us), it was an ideal evening, and I look forward to seeing what the rest of their Masterworks series has to offer as the season progresses.
