The Madison Symphony Orchestra debuted their latest “Symphony Gems” concert Friday evening in Overture Hall, a stunning medley of classic compositions spanning four centuries of musical history. Music Director John DeMain returned to conduct once more after a brief hiatus, joined by acclaimed guest pianist Jonathan Biss.

Despite rarely performing works from before the 19th century, the MSO began the evening with Mozart’s “Symphony No. 35 in D Major, K. 385,” also known as the “Haffner Symphony” — a piece the orchestra hasn’t touched in over 20 years. First composed in 1782, the symphony is regarded as among Mozart’s finest works.

Mozart initially wrote the “Haffner Symphony” to celebrate the ascension of family friend Siegmund Haffner to nobility. As such, the symphony is a bright, playful and courtly dance that the orchestra played with delicate precision.

Their rendition initially lacked the color one would expect from Mozart. The piece begins with a bold proclamation from the brass, intended as a regal introduction to the symphony’s beautifully symmetric themes. However, the MSO’s attempt lacked the dynamism necessary to fully encompass the composition’s lively spirit.

Nevertheless, the orchestra regained some vitality in the second movement which carried into the fourth, culminating in a rousing jubilation of a finale.

‘Nonstop euphoria machine’

In direct contrast to the preamble’s slight pallor, the MSO’s next piece, Robert Schumann’s “Piano Concerto in A minor, Op. 54,” evoked blushing cheeks and heartfelt romance, thanks in no small part to a stunning performance by Biss on the piano.

The piece serves as a tender love letter to the composer’s wife, Clara Schumann, one of the most renowned pianists of her time. The depth of the emotions underlying the piece were palpable, with some phrases seemingly calling Clara’s name in a delicate and whimsical serenade, cementing its status as a paragon of the Romantic movement.

The piano and orchestra played a flirtatious game throughout the concerto, interwoven in a way unlike most concertos. The orchestra was in top form, though Biss’s uniquely captivating performance was the highlight.

The piano’s part is particularly complex, given the rapid torrents of cords it demands. This was particularly true in the concerto’s breathtaking third movement, which Biss himself described as a “nonstop euphoria machine” according to youth orchestra conductor Randall Swiggum.

Nevertheless, the pianist gave a flawless performance, and without the aid of sheet music. Biss practically jumped back from the piano following especially intense passages, as if overwhelmed by the powerful feelings coursing through the piece.

A spiritual performance

To round out the night, the MSO performed William Levi Dawson’s “Negro Folk Symphony” for the first time, a brilliant composition layered with folk music and spirituals that stole the show. Composed in 1934, Dawson’s symphony is a meditation on the Black American experience. It begins on the shores of Africa and follows a frightening journey through Black history.

The Philadelphia Orchestra first debuted the piece in Carnegie Hall to much critical acclaim. However, the work inexplicably disappeared from public consciousness soon after.

”There’s a cultural amnesia about this piece and other similar pieces by Black composers,” Swiggum said. He further praised the piece, calling it “brilliant in all the ways you’d expect a masterpiece to be.”

The MSO’s performance of Dawson’s symphony was both a delightful and harrowing experience. It begins with the somber moan of a French horn, inspiring an unease that persists during the piece’s more hopeful turns. The MSO lent the piece a perpetual sense of falling forward, creating a tension that made my heart lurch in anticipation. The orchestra never overplayed its hand, neither pushing too hard nor relenting enough to let the audience breathe.

A sound like church bells filled the chamber toward the end of the third movement, though it was unclear whether they signaled a baptism or funeral. The piece culminated in a clipped and intentionally unsatisfactory note, fittingly depriving the audience of a true resolution.

In all, the MSO’s “Symphony Gems” concert was a moving and thought-provoking foray into works from some of history’s most exceptional composers, both the familiar and the tragically overlooked.

The MSO continues to capture the brilliance and complexity of these classic works while introducing a vibrant, youthful quality that allows the music to truly sparkle.