MEMETERIA by Thomas May

Music & the Arts

Seattle’s Chamber Music Summer Festival: Review

James Ehnes; ©Benjamin Ealovega

James Ehnes; © Benjamin Ealovega

Tomorrow will mark the first anniversary of Memeteria. I wouldn’t believe it if I didn’t have the archives to the right to prove it — this year has been a whirlwind. A huge thanks to all my readers for taking the time to visit. I hope you will continue to come back and would love to hear from you.

And how’s this for unplanned synchronicity: my very first piece was a report on the opening of the Seattle Chamber Music Society’s Summer Festival. And my latest offering is a review of one of the 2014 Summer Festival’s concerts. To wit:

For 33 summers now, the Seattle Chamber Music Society (SCMS) has been presenting an extensive festival that now ranks as a particularly desired destination for musicians on the summer chamber circuit across North America. This latest edition is off to an especially invigorating start. For their part, the audiences tend to be uniformly enthusiastic and devoted, but last night’s performances met with vociferous approval that reached the extreme end of the applause-meter.

The unusual programme design – juxtaposing Stravinsky’s infrequently heard Octet for Winds with bread-and-butter classics by Mendelssohn and Beethoven – is a signature of James Ehnes, now in his third year as SCMS’s artistic director.

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Filed under: chamber music, James Ehnes, review


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