Bach and Dvořák Shine as SFSO Wraps Up Its Summer Chamber Season
FORT LAUDERDALE — The final performance of South Florida Symphony Orchestra’s 2025 summer chamber series was nothing short of radiant, as the ensemble offered a compelling pairing of Bach’s Keyboard Concerto in D Minor and Dvořák’s String Quintet No. 2. Held July 25 at the Center for Spiritual Living, the evening brought together exceptional musicianship, expressive unity, and repertoire that spanned both profound intellect and folk-inspired charm.
Bach’s Genius Brought to Life
The night opened with Bach’s Keyboard Concerto in D Minor, BWV 1052, a work that pianist Catherine Lan introduced as “the prototype of the classical concerto.” Originally composed for harpsichord, the piece took on fresh vitality in this intimate chamber setting. Lan tackled the relentless virtuosity of the score with clarity and poise, moving seamlessly through rapid sequences that felt both calculated and improvisational.
Backing her was a tight-knit ensemble: violinists Huifang Chen and Erika Venable, violist Brandon Wu, cellist Claudio Jaffé, and bassist Amy Nickler. The dynamic tension between Lan’s piano and the string ensemble created a thrilling sonic push-pull — with Baroque counterpoint shining through every exchange. The ensemble delivered the central Adagio with touching synchronicity, and the outer movements pulsed with brisk, motoric energy.
Dvořák’s Quintet Offers Lush Bohemian Warmth
In contrast to Bach’s mathematical intensity, Antonín Dvořák’s String Quintet No. 2 in G Major, Op. 77 offered a rustic and jubilant close to the program. Unlike typical quintets that add a viola or cello, Dvořák scored his with a double bass, creating a lush bottom end that grounded the ensemble in earthy resonance.
The piece was filled with Czech folk elements, pastoral melodies, and buoyant rhythms. The SFSO musicians leaned into the music’s dance-like vitality — particularly in the scherzo, where peasant waltz patterns gave way to lyrical passages. Violinist Huifang Chen’s opening solo in the Andante was especially moving, and the finale capped things off with spirited exuberance.
A Case for More Chamber Music
This final concert — and its sold-out predecessor at Coral Gables Museum — underscores a growing appetite for chamber experiences in South Florida. The blend of repertoire and performance intimacy proved irresistible, and audiences responded accordingly. As critic Robert Croan noted, these musicians play “with a confidence and unity that should be the envy of the very best dedicated chamber ensembles.”
A fourth concert next summer? Absolutely. And perhaps even more throughout the regular season.
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