Flutist David Buck nails notorious solo at Dallas Symphony's La Mer concert

On Saturday, November 9th, Gemma New took to the Dallas Symphony podium to direct a program of Impressionistic masterpieces, from Debussy's Prelude to the Afternoon of a Faun to Debussy's La Mer. Two other pieces were performed that night, including a world premiere of Steven Mackey's Timpani Concerto and the Dallas premiere of Salina Fisher's Rainphrase.

Overall, the Dallas Symphony was excellent at portraying Debussy's works. The strings displayed immense control of phrases and dynamics, recreating the tipsy quality of Impressionistic music. Their ebb and flow, especially during Debussy's La Mer, was wonderfully mimicked to the rise and fall of the tides, splashing a vivid image of waves for the audience's imagination.

Steven Mackey's Timpani Concerto was odd, to say the least. While percussion soloist Brian Jones held clear mastery of his instrument, the overall piece did not hold up its promotion. Mackey's attempt to push beyond the envelope of 20th-century music was subverted the moment Mackey had Jones bounce a ping-pong ball for effect. Audience reactions, an even mix between confusion and amusement, in the end, were detracted from Jones' talent.

Rainphrase was a treat for audiences, as it lived up to its name. The strumming of the timpani adequately emulated the gentle pattering of the rain, while a chorus of woodwinds created a shimmering effect, much like the rainbow gloss of oil on street water.

However, flutist David Buck's stunning solo was the highlight of the night in Debussy's Prelude to the Afternoon of a Faun, a piece that clearly should have been saved for last. The piece started out with a melted, narcoleptic introduction followed by a cascade of harp notes, inducing all entranced listeners to awake in a dense nature in a dreamlike state. Debussy's piece, though eternally calming for the audience, is notorious for its incredible demands for the flute soloist. Yet, Buck accomplished the seemingly impossible, coloring the middle D flat into a rich, succulent tone, entering his phrases from Niente, and maintaining absolute control throughout. His sweet tone carried the orchestra to a new level, never wavering once despite the massive pressure for air.

All in all, Buck's solo elevated the performance. The Dallas Symphony Orchestra is truly lucky to have him.