In Richardson, at a Chamber Music International Concert, these excellent musicians played superbly, at less than fortissimo.
The Fort Worth Symphony Orchestra is presenting May 19-21 a semi-staged concert version of Haydn’s The Creation, for choir, orchestra and soloists.
There are passages in Shostakovich string quartets definitely meant to be emotional and sonic assaults. In neither the Brahms nor Dvorák is there any remotely comparable passage or demand. And surely fortissimos in an age of horses and buggies meant something very different from those in the age of jets and diesel trucks.
But Saturday’s musicians too often pushed climactic passages to the very limits of their instruments’ sonic possibilities. In Brahms. In Dvorák. Cho was the most aggressive offender, but Yang was sometimes that bit too loud even in more reflective passages. I kept wanting to say, “Lighten up!” Alas, that seems the norm with chamber music performances these days. And too many other concerts as well.. Former staff classical music critic Scott Cantrell continues contributing as a freelance writer on classical music and art. His classical music reporting is supported by the Rubin Institute for Music Criticism, the San Francisco Conservatory of Music, and the Ann and Gordon Getty Foundation. The News makes all editorial decisions.
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