Classical music: Turmoil at Dallas Chamber Music Society
This is one of those compositions that will reveal new discoveries to the attentive listener each time it is performed. At yesterdays concert the violinists were Chen Zhao and David Chernyavsky, the violists were Jonathan Vinocour and Christina King, and the cellists were Amos Yang and Margaret Tait. Their approach to performance was ripe with such possibilities for discovery. In my case I was struck by how Tchaikovsky could avoid providing an explicit bass line, rather a trick when one realizes that he has two cellos at his disposal. However, the balanced sound from yesterdays ensemble allowed one to appreciate what happens when the thick textures of melodic lines elevate the music above any need for a continuo. The result is a sonorous experience that could not come from any composer other than Tchaikovsky. The Catoire selection was his only piano quartet, Opus 31 in A minor, composed in 1916 but not published until 1928.
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21, the board dismissed him. Basically, it was not a good fit, Aguirre says. There was turnover on the board, too. Vice president for the last five years, Scott became president only this fall, after a board disagreement with former president Kathryn Evans, associate dean for art and performance at the University of Texas at Dallas. I do not have enough time to do all this, Scott says, but members of the board asked me if I could possibly find a way to do it. The Dallas Chamber Music Society typically presents five concerts per season, mainly at Southern Methodist Universitys Caruth Auditorium. The series includes major touring ensembles ranging from string quartets to vocal ensembles specializing in Renaissance music.
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