Texas Classical Review

A new American violin concerto was paired with a popular Czech evergreen in the post-Thanksgiving concert of the Dallas Symphony Orchestra led Markus Poschner Friday night.

The latter work was For a Younger Self, a violin concerto in all but name, by composer Kris Bowers. Best known for his film and television work (The Green Book, Bridgerton, King Richard),the concerto is Bowers’ first concert work for orchestra.

The composer describes the piece, premiered in 2019, as reflecting the experiences shared by Bowers, his friend and soloist Charles Yang and others of being a young student at Juilliard who is overwhelmed by the environment and by inner doubts, but who soon develops the confidence to take a leading role in the school’s community.

Following a somber opening by the soloist accompanied by a muted bass drum, the first movement proceeded as a succession of episodes alternating between hectic reiterated accents and forlorn, reflective passages, with the solo violin and the orchestra engaged in pointed dialogue. Yang’s part ranged from sweeping lyricism to agitated and virtuosic declamations that all stemmed from his opening motif, which was often echoed by the orchestra in the slower episodes.

The second movement is a song-like interlude with soloist Yang as the clear focus. The orchestra accompanied Yang’s extended melancholy phrases. The music leads into a cadenza at the mid-point consisting of agitated figurations involving multiple stops that, while virtuosic, were rooted in expression rather than display, culminating on a high violin note. Poschner gently brought the orchestra back in for what seemed like a reprise of the movement’s opening but was quickly revealed to be a more uplifting variant due to the brighter harmony and Yang’s more assertive statements.

Now clearly the driving force, Yang began the finale with a burst of energy, kicking off the movement with a tense perpetuum mobile figure that he maintained with embellishments and interjections throughout the brief movement.  Poschner and the orchestra followed Yang’s lead, with various instrumental groups adding moments of dynamic and rhythmic emphasis while echoing his furious activity.  The finale’s end came unexpectedly in the wake of a brief accelerando that hinted at further development but instead brought the movement to conclusion with a resounding jolt.

Yang’s performance was consistently impressive throughout, bringing unity and coherence to the three movements. Despite Yang’s prominence in the texture and on stage, it was Poschner who shaped the dynamic trajectory of the concerto, using subtle gestures to spur the distinct character of each episode from the ensemble and soloist alike.

Following intermission, Poschner led the DSO in a spirited performance of Dvořák’s Symphony No. 9 (“From the New World”).

Last week Poschner was named music director of the Utah Symphony, effective in the fall of 2027.  The German conductor led Dvořák’s symphony from memory and displayed a level of dynamism and activity on the podium that contrasted sharply with his more subdued podium presence on the first half.  

The Dallas Symphony musicians matched his energy and enthusiasm such that, shortly into the exposition of the first movement, Poschner all but dispensed with giving indications of tempo, instead employing a range of gestures that exemplified the alternately bold and lyrical themes coming out of the orchestra.

The slow movement provided a serene contrast to the blustery Allegro molto, highlighted by the Largo’s familiar, spiritual-inspired theme, rendered tranquilly by David Matthews on English horn.  Poschner’s rapid pacing of the syncopated scherzo resumed the energy of the opening movement, slowing briefly only to enhance the distinct characters of the trio sections.

The finale provided the climax of the evening as well as the apotheosis of the symphony.  Throughout Poschner was clearly in command with the orchestra focused on his every move; a precise hand gesture here or a distinct facial expression there appeared to bring forth each of the movement’s bold fanfares, churning rhythms, scurrying figures and resounding themes on its own.  All this activity culminated in the movement’s coda, in which the memorable themes from previous movements passed in review before the defiant concluding statement of the finale’s own principal theme brought the symphony and the evening to a close.

The program will be repeated 7:30 p.m. Saturday and 3 p.m. Sunday. dallassymphony.org