Guest conductor Jukka-Pekka Saraste led the Dallas Symphony Orchestra in Sibelius’ ‘Pohjola’s Daughter' and Shostakovich's Eighth Symphony, which encompasses...
The Eighth got a gripping performance Thursday night from the Dallas Symphony Orchestra, at the Meyerson Symphony Center. Much credit goes to guest conductor Jukka-Pekka Saraste, who with economical gestures knit the music’s stark contrasts, its mix of mockery, desperation, mourning and hope, into a compelling whole.
Loud — sometimes very loud — or soft, fast or slow, the music’s thread of continuity, of urgency, never slackened. If a few first violin scurries might have been tidied up, overall the orchestra played brilliantly, but also incredibly subtly when called for. Crescendos and decrescendos were exquisitely controlled.
If you attend a repeat performance — highly recommended — note that there’s no intermission between the symphony and the preceding Sibelius. Before the symphony, do take time to read René Spencer Saller’s vividly written program note. The symphony’s first movement is a Mahlerian sprawl nearly half the symphony’s duration. Iambic thrusts between upper and lower strings announce serious matters at hand. Having first and second violins divided left and right onstage highlighted Shostakovich’s strategic stereophony.
Contrapuntal activity becomes more agitated, leading to dissonant climaxes, a military march and then a sudden hush, with a soulful English horn solo .
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