Des Moines Symphony kicked off their 88th season with the aptly titled debut concert Triumph–Tchaikovsky 5 on Sept. 27 and 28. Their program featured a stunning composition by a rising American composer sandwiched in between two beloved masterpieces hailing from Russia, a true celebration of the old and the new.
The symphony embraced technology on opening night by incorporating multiple cameras and a large screen above the orchestra, giving the audience close-up views of the musicians. There were some minor technological hiccups at the start of the evening, but those were swiftly overcome. Overall, the enhancement was a welcome addition to the performance.
The evening began with Dmitri Shostakovich’s “Festive Overture, Op. 96.” The symphony was bright and bursting with energy as they performed this charming piece, and the joy was infectious. The fact that Shostakovich wrote this brilliant overture in a matter of three days is impressive. I can only manage productivity like that when I’ve procrastinated past the point of no return, but I suppose Stalin’s death was all the motivation Shostakovich needed to start churning out celebratory bangers.
The undeniable highlight of the evening was “Vital Sines” by Viet Cuong. The composer was in attendance for the performance, and he shared some personal insights about the composition. Written to honor the memory of his father and his unwavering support of Cuong’s music, “Vital Sines” was a deeply moving exploration of a full spectrum of emotions. The music imitated the undulating sound waves referenced in the title, the steady echoes reminiscent of breathing or the pulsing of a hospital heart monitor.
The symphony was joined onstage by Eighth Blackbird, a sextet that performed the debut of this piece with the U.S. Navy Band back in 2022, and their familiarity with Cuong’s work was on full display as well as their individual virtuosity. The ensemble struck the perfect balance, standing out for most of the performance then seamlessly blending into the orchestra for grander moments.
I can understand why conductor Joseph Giunta was eager to introduce Des Moines audiences to Cuong’s work. His music was exhilarating, a captivating fusion of the familiar and unfamiliar. My body reacted to the experience viscerally which is always an undeniable testament to a work’s emotional power. (Sure, the concert hall was freezing, and I did forget my sweater. However, I am positive Cuong’s music was responsible for my goosebumps!)
“Vital Sines” is the symphony’s second time performing one of Cuong’s works, and judging by how quickly the audience leapt to their feet for a standing ovation, I think it is safe to assume we will be hearing more of this rising composer’s brilliant works in the future.
The final offering of the evening was Peter Ilyich Tchaikovsky’s “Symphony No. 5 in E Minor, Op. 64.” This majestic piece began with a fateful theme played by clarinets, slowly building from melancholy to joyous over the span of four movements. The symphony performed Tchaikovsky’s music with nuance and skill, fluctuating from low churning to soaring melodies until finally delivering the triumphant ending the evening deserved.
Des Moines Symphony’s debut weekend was truly an auspicious start to another ambitious season. Their willingness to embrace new composers alongside celebrated favorites is commendable, and I look forward to discovering more masterpieces from the past and present as the rest of their masterworks series unfolds.
