Event / Program Detail

Saint-Saëns Piano Concerto 2

October 22, 2019, 8PM

Moody Performance Hall

2520 Flora Street, Dallas, Texas 75201 (map it)

Main Event at 8:00 PM

Christopher Goodpasture, a prizewinner of the Dallas and Seattle International Piano Competitions, joins the orchestra on Saint-Saëns’ dramatic Piano Concerto No. 2.

Richard McKay, conductor

Concert Duration, ca. 90 minutes

Program

Ravel: Le tombeau de Couperin

Prelude
Fugue
Forlane
Rigaudon
Menuet
Toccata

Poulenc: Sinfonietta

Allegro con fuoco
Molto vivace
Andante cantabile
Très vite et très gai

INTERMISSION

Saint-Saëns: Piano Concerto No. 2

Christopher Goodpasture, piano

Andante sostenuto
Allegro scherzando
Presto

Parking

Convenient parking for $6, available nearby at One Arts Plaza.

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Directions

Find Moody Performance Hall downtown in the Arts District.

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Tickets By Phone

 214.449.1294

9:00am – 5:00pm, Monday – Friday
Voicemails also accepted.

Online

Pricing

Reserved Seating: $25-54

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At the Door

Tickets may be purchased at the box office in the lobby, which opens 90 minutes before the event start time. Cash and major credit cards are accepted. Save time by ordering in advance, online or by phone.

What People Are Saying

  • "McKay and the musicians wove through the complex textures and often counter-intuitive wanderings of this score with admirable devotion and precision."

    Wayne Lee Gay D Magazine
  • "...the Dallas Chamber Symphony and the Bruce Wood Dance Company...make an ideal cultural ambassador for the city to major urban centers in the United States and beyond."

    Wayne Lee Gay D Magazine
  • "McKay and the musicians wove through the complex textures and often counter-intuitive wanderings of this score with admirable devotion and precision."

    Wayne Lee Gay D Magazine
  • "Best Way to Watch A Silent Film 2014: ...they showed us that there’s nothing quite like watching a movie to the sound of a live orchestra."

    The Editor D Magazine
  • "The mostly young ensemble of two dozen strings responded with performances as eager and expressive as they were accomplished."

    Scott Cantrell The Dallas Morning News
  • "For this symphony the educational outreach is far-reaching."

    Teresa Frosini CBS 11 News
  • "…the orchestra here demonstrated a continually improving precision and comfort in a room that can be unforgiving. The Warlock Suite provided ample opportunity for McKay to show off a wonderful ability to evoke the special atmosphere, at once modern and archaic, that the composer created here."

    Wayne Lee Gay D Magazine
  • "Renaissance harmonies abounded, tinged with just the right spice of 20th Century dissonance and bi-tonality. It was brought out at just the right level by McKay."

    Wayne Lee Gay D Magazine
  • "The pointed intentionality of last night's programming, which initially looked like a musical mishmash, was to breathe new life into the old. And the structure of it was brilliant: 'Here's something you'll know. Here's something you should know. And here's something fun, so you leave feeling elated.'"

    Jamie Laughlin The Dallas Observer
  • "The Dallas Chamber Symphony is nothing if not ambitious."

    Katie Womack Dallas Observer
  • "This combination of old and new elements helped transport the audience to a different time and place without over-doing musical clichés."

    Katie Womack The Dallas Observer
  • "The audience was drawn into the film from the start, bursting into laughter and interacting with the story audibly."

    Katie Womack The Dallas Observer
  • "On Tuesday night, the Dallas Chamber Symphony proved they know exactly how to create a well-executed, interactive and entertaining live music/film screening experience."

    Katie Womack The Dallas Observer
  • "They have some incredible talent in their midst."

    Katie Womack The Dallas Observer
  • "There were a lot of excited whispers and shoulder grabs as people stood up to leave. I rarely see crowds so invigorated after classical productions."

    Jamie Laughlin The Dallas Observer
  • "If we want to keep classical music relevant, we need to fuse it naturally with our other passions. It should be an accompaniment to our lives, not just a fancy auditory meal gobbled up occasionally while wearing fine clothes. The Dallas Chamber Symphony is making that happen."

    Jamie Laughlin The Dallas Observer
  • "Shows like this reinforce that I'm on board; I'll see anything this group and its artistic director Richard McKay tries…"

    Jamie Laughlin The Dallas Observer
  • "Dallas Chamber Symphony has, along with the presentation of a fresh and widely varied repertoire of standard and non-standard works, carved a notable niche on the local scene…"

    Wayne Lee Gay D Magazine
  • "The orchestra and conductor McKay deserve hearty accolades for this ongoing silent cinema project, with hope that it will continue to enrich the local scene in upcoming seasons."

    Wayne Lee Gay D Magazine
  • "McKay had a great sense for the tempo and character of the piece, which was clearly chosen to show off Takagi's technical and artistic skill."

    Katie Womack The Dallas Observer
  • "As they had been all night, phrases were beautifully shaped. Throughout the performance there was palpable emotion in the playing and ultimately that intangible -- artistic sensibility -- is what made this concert a success."

    Katie Womack The Dallas Observer
  • "The conductor’s long-term vision is precisely the kind of eclectic and occasionally challenging classical group Dallas really needs."

    Peter Simek D Magazine
  • "Everything from the first note was locked in rhythmic precision, and difficult passages were clear, focused, and musical..."

    John Norine TheaterJones
  • "The ensemble is extremely adroit in their presentation as well as programming."

    John Norine TheaterJones

ABOUT THE ARTISTS

Christopher Goodpasture, piano

Praised by the Washington Post for his “sparkling, highly musical” playing, Christopher Goodpasture has established himself as a musician of refined style. The Toronto Concert Review described his playing as a “rare combination of strength, energy and sublime musical sensitivity…matched by a heavenly sense of melodic line”. His imaginative approach to programming reflects a penchant for unusual repertoire and narrative that is both unconventional and provocative. He has performed recitals in concert venues throughout North America, including the Kennedy Center (Washington D.C.), Benaroya Hall (Seattle), Koerner Hall (Toronto), Alice Tully Hall, Merkin Hall, Weill Recital Hall (New York), Bing Concert Hall (San Francisco), and the Los Angeles County Museum of Art.

Recent and upcoming orchestral appearances include concertos with the Sioux City Symphony, The Oakville Symphony, Northumberland Orchestra, Acadiana Symphony Orchestra, and the Chamber Orchestra of New York.  Among his forthcoming projects is a debut album to be recorded in 2019 on the KNS Classical Records label as well as an album exploring atmosphere seen through the imagination of composers including Bartók, Janáček, Debussy, Haydn, Takemitsu and Australian composer Peter Sculthorpe to be released on the Southern California based Yarlung Records.

Christopher is a top-prize winner of the Washington International, Seattle International, Iowa International and Dallas International Piano Competitions, as well as the Serge and Olga Koussevitzky Competition for Pianists. He holds graduate degrees from Yale University and The Juilliard School, where his teachers included Hung-Kuan Chen, Peter Frankl, Jerome Lowenthal and Christopher Elton.  Born in Los Angeles, California, his formal training began at the Pasadena Conservatory, where he enrolled in theory, chamber music, and for four years, composition with award-winning American composer, Andrew Norman.  He continued his studies with Stewart Gordon and John Perry at the University of Southern California and the Royal Conservatory of Music in Toronto.

From a young age, Christopher developed a keen interest in collaboration and now is a sought-after chamber musician, having played for and collaborated with a number of noted musicians.  He has appeared as a fellow in Ravinia’s Steans Music Institute, in the intensive chamber music program of David Finckel and Wu Han in Aspen, at the Music Academy of the West, and in the festivals of Kneisel Hall, Sarasota and Banff.  Among his collaborators are members of the Takacs, Ysaye, St. Lawrence, Amenda, Guarneri, and Tokyo String Quartets.  Christopher’s work with pianists Seymour Lipkin, Joseph Kalichstein, Robert Levin, Claude Frank, Leon Fleisher and violinists Pamela Frank and Sylvia Rosenberg has left a meaningful impact on his work as a chamber musician.

Currently, Christopher is a member of New York based Ensemble Connect (formerly Ensemble ACJW), a fellowship program of Carnegie Hall, the Juilliard School and the Weill Institute in partnership with the New York City Department of Education and with an emphasis on audience engagement, teaching and performing chamber music.

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