Houston Symphony Orchestra– 07/19/24

The Houston Symphony completed a five-concert series at Miller Outdoor Theater Saturday evening. Beginning with their annual July 4th “Star-Spangled Salute,” the series continued unabated on July 12th after Hurricane Beryl struck the Houston area on July 8th. This evening, many took advantage of the temperate weather and sat on the hill overlooking the stage. Those in the covered seating area had air circulated by two huge fans. In its 83rd year, the annual tradition provides free concerts to Houston audiences. Making his Houston Symphony debut, guest Greek conductor Dionysus Grammenos led works by Samuel Coleridge-Taylor and Antonín Dvořák. He was joined by Houston Symphony cellist Charles Seo in Joseph Haydn’s C major Concerto.

Coleridge-Taylor was only 23 when he was commissioned to write a work for an important British festival in 1898, the same year he wrote his highly popular “Hiawatha’s Wedding Feast.” The Ballade in A minor alternates energetic rhythmic figures with lyrical sections in a balletic narrative style. Sounding less developed than some of his more mature works, it offered bouncy and pretty elements but limited emotional depth. Conductor Grammenos led in a like manner, with little beat distinction between the rhythmic and the lyrical. Fluid but circular conducting motions offered little in the way of dynamics or phrasing direction, which were provided in large measure by the orchestra musicians themselves.

Charles Seo, a member of the excellent Houston Symphony cello section, presented Haydn’s C major Concerto. Discovered in 1961, the concerto has become a mainstay of cello repertoire. Maintaining concentration through numerous sonic distractions (barking dogs, chirping birds, planes, medical helicopters, and people who think they are watching a movie), Seo played with self-assurance and consummate skill. Seo’s artistically nuanced phrasing was not uniformly matched by Grammenos. The first movement cadenza (written by Seo himself) was brilliant and flawlessly executed. The second movement is the heart of the concerto, and Seo played it with heart, transporting the listener beyond the temporal. His warm and silky tone was compelling. By varying his vibrato and bow pressure Seo provided a narrative of beauty. The Allegro molto third movement was alertly conducted by Grammenos and virtuosically played by both orchestra and soloist. Seo again provided an outstanding cadenza with accurate double-stops and leaps. Given the enthusiastic audience response, he played an impromptu encore, “Nearer My God to Thee,” that was dedicated to his recently passed grandfather. This moving tribute was an unexpected treasure. It is impressive when a cellist of this caliber emerges from the section.

Dvořák’s Symphony No. 8 is somewhat of a musical step-child. Written in 1889, it falls between his great Symphony No. 7 and his famous 9th, the “New World Symphony.” Compositionally, it has a few weaknesses that can be surmounted with astute interpretation. Conductors such as István Kertész, Rafael Kubelík, and Zdeněk Mácal crafted inspired renditions that lifted the work. While Grammenos conducted in a more engaged style than the first half, his emotional involvement appeared to waver. Many interesting harmonies and orchestral colors were glossed over. The orchestra nonetheless supplied the required precision and energy to ensure a successful performance. Of note were consistently fine flute solos by Judy Dines and a tonally rich violin solo by concertmaster Eric Halen. The celli had several expertly played section solos and the French horns injected exuberant flourishes.