Leading without a baton, Luisi uses his hands to produce sounds alternately soft- and hard-edged, dark and dense or bright and shiny.
Symphony more impassioned — indeed, gut-wrenching — than the one served up Thursday night at the Meyerson Symphony Center. It was the work of the Dallas Symphony Orchestra and its music director, Fabio Luisi.
A tragic tone is set right from the start, but then comes a warmly romantic second theme. The second movement, in five beats per measure, isn’t a traditional waltz in three, but it feels like one. You can imagine a great ballroom in imperial Russia, with richly dressed couples springing and swaying to the music.
Leading without a baton, Luisi uses his hands to mold sounds alternately soft- and hard-edged, dark and dense or bright and shiny. In thehe summoned everything from diaphanous. barely-there pianissimos to savage assaults of strings as well as brasses. He felt free to stretch time, even hesitate, for dramatic effect, drawing out inner voices, leaning into passing harmonic crunches.
Luisi is making a point of exploring lesser-known American works of the 20th century, and Thursday’s contribution — also acknowledging Black History Month — was William Grant Still’s 1944. Twelve minutes long, it moves from a turbulent opening to exploring possibilities of an upsweeping motif in rich textures and ultimately cinematic grandeur. Here again the performance was deeply committed and generously expressive.
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