Symphony Review: Cristian Măcelaru Energizes SLSO on program featuring Dvořák, Frank and Ginastera

The program notes for the St. Louis Symphony Orchestra’s Oct. 4 and 6 program, under the baton of guest conductor Cristian Măcelaru, promised a spirited performance filled with energy and the works Antonin Dvořák, Gabriela Lena Frank and Alberto Ginastera. The works ranged from 19th century Bohemia to 20th and 21st century South America, and delivered on that promise with an aural journey that was noteworthy for its vivid, almost celebratory vitality.

[Find out more about the music with the KDHX symphony preview.]

The performance was bookended with Dvořák’s “Carnival” concert overture, Op. 92, which began the program, and his Symphony No. 6 in D major, Op. 60, which concluded it. Set in the bright key of A major, Măcelaru directed Carnival Overture with exuberance reminiscent of Dvořák’s Slavonic Dances. The lively theme was propelled by the celebratory sounds of tambourine, cymbals and triangle, with festive bursts from the trombones. The nostalgic tones of Cally Banham’s English horn were joined by the flute and solo violin. The coda section delivered a dazzling display of musical fireworks. As an effective program-opener, Carnival Overture was vivid, motion-filled and joyful.

Next was Gabriela Lena Frank’s folkloric “Concertino Cusqueño,” which seamlessly blends Peruvian musical influences with elements reminiscent of British composer Benjamin Britten. The piece began with a unique and captivating duet between the piccolo and bass clarinet, performed by Ann Choomack and Tzuying Huang respectively, which was then enriched by the addition of the celesta, timpani and harp, performed by Peter Henderson, Shannon Wood and Grace Roepke respectively. Another interesting moment was Frank’s use of principal players from each string section to form a string quintet. At the risk of appearing to showcase the composer’s prowess, the performance was entirely natural, straightforward and engaging, if not quite mesmerizing.

The program continued with Alberto Ginastera’s “Variaciones concertantes,” op. 23, a masterwork blending Argentine national identity with sophisticated orchestral technique. The piece comprises a series of 11 distinct variations, each spotlighting a different instrument or section of the orchestra in a style reminiscent of a “concerto for orchestra.”

Conductor Măcelaru captured this essence beautifully by elevating the composition’s unique blend of lyrical and vibrant, dance-like sections. The orchestra skillfully navigated the shifts in mood and style, from serene and reflective sections to the thrilling final “Malambo” dance—a robust, energetic piece inspired by gaucho tradition. This closing variation showcased the orchestra’s versatility, culminating in a powerful ensemble finish that encapsulated Ginastera’s rhythmic vitality and cultural homage.

The second half of the performance was dedicated to Dvořák’s Symphony No. 6, a highlight of which is its Bohemian warmth and rhythmic spirit. Măcelaru ensured the orchestra delivered the symphony’s vibrancy and dynamic pacing. His interpretation of the second movement flowed with a pastoral quality that felt natural, warm and unforced. His energetic style highlighted the folkloric elements in Dvořák’s third movement with pulsing Czech dance Each orchestral section contributed distinctively to the symphony’s joyful character, resulting in a performance that was both lively and rich in detail.

The St. Louis Symphony Orchestra performed this program on Oct. 4 and 6, 2024, at Touhill Performing Arts at the University of Missouri-St. Louis.