MEMETERIA by Thomas May

Music & the Arts

Morlot Leads the Next Chapter in the Seattle Symphony’s Sibelius Adventure

Ludovic Morlot reunites with the Seattle Symphony (image: Nick Klein)

For the second installment in the Seattle Symphony’s Sibelius cycle, emeritus conductor Ludovic Morlot rejoined the orchestra to lead a program centered around the Second Symphony. The occasion inspired some spectacular, edge-of-your-seat playing on Thursday night.

The concert started off with another in the series of commissions of new works from contemporary composers that find a way to “relate” to each of the Sibelius symphonies. In February, when the cycle launched with the Sibelius First (conducted by the talented Ruth Reinhardt), the pairing presented an intriguingly provocative new piece by Ellen Reid. The Puerto Rican composer Angélica Negrón faced the challenge of responding to what is, for many Sibelius fans, the best-loved of the seven symphonies. Color Shape Transmission, the result, offers an imaginatively fresh take on the phenomenon of acoustic space and the orchestra as a kind of mobile aural sculpture. Negrón spins her vast array of forces into a kaleidoscope of mysterious timbres, rapturously sustained clusters, and subtle echo and richochet effects. The impression of a ritual or procession brought to mind the mystery of the Second Symphony’s Andante, with its walking bass and swelling hymn.

I seem to recall that this program had originally been planned to include Sibelius’s Violin Concerto with Isabelle Faust. She was the soloist in Stravinsky’s contribution to the genre instead, but it was a wonderful match and proved captivating from first note to last. Faust displayed multiple personalities, all equally convincing, in Stravinsky’s one-of-a-kind take on the concerto idea: alternately cheeky, heart-breaking, whimsical, and invigorating. Morlot’s tenure with the SSO included some especially memorable encounters with Stravinsky, so it was gratifying to find him shedding light on a different aspect of the composer, tending so carefully to his piquant timbral combinations of woodwinds and soloist; concertmaster Noah Geller matched Faust’s ravishing tone in the duet between both violinists in the Capriccio finale.

But what left the most resounding impression was the epic sweep conveyed by the Second Symphony. In this account, Morlot navigated the SSO through Sibelius’s drastic transformations of landscape with a convincing sense of purpose. Sunlight shifting on the meadows, impending storms, glorious new vistas opened up — the sonic imagery flowed generously, but Morlot shaped its ebbs and flows with architectural understanding, aside from the occasional haze produced by a passing sonic imbalance. He homed in on Sibelius’s use of tension and release to thrilling effect.

In his excellent program notes, Christopher DeLaurenti points out that Sibelius had little use for the political purposes which his work seemed to serve, while at the same time hinting at the Second’s uncanny relevance for the terrible present moment. Its premiere in 1902, he writes, “was welcomed by the Finnish public as a missive of nationalist resilience against their Russian overlords.” He also quotes the composer’s friend and champion Robert Kajanus hailing the Second as “a broken-hearted protest against all the injustice that threatens at the present time to deprive the sun of its light and our flowers of their scent.” Grasping the music’s agonized heroism, this performance invested the final moments of the Second with cathartic grandeur.

The full program will be performed again on Saturday, 9 April, at 8pm. If you need a dose of hope, don’t miss it.

Filed under: commissions, Ludovic Morlot, Seattle Symphony, Sibelius, Uncategorized

Ludovic Morlot to Barcelona Symphony

Nostalgic clip from October 2009, when Ludovic Morlot was rehearsing with the Seattle Symphony

Congratulations to Ludovic Morlot, Conductor Emeritus of Seattle Symphony, who has just been named music director of the Barcelona Symphony Orchestra. His tenure starts September 2022 for an initial four seasons. He succeeds Kazushi Ono.

From the press release:

Morlot will conduct a minimum of eleven weeks a year. Ambitious plans together will include an increased digital presence, CD recordings, international residencies, talent development and youth programs, and a commitment to expand the permanent symphony orchestra size. His appointment is the culmination of a three-year search process, and follows conducting weeks with the orchestra in December 2020 and then again last month.  

Robert Brufau, the Director of L’Auditori, stated that ‘with Ludovic Morlot at the helm, the OBC reaches an international level to defend the role that symphonic music has to play in the 21st century. Morlot has proven his capacity to promote the artistic growth of large groups that, thanks to his leadership, have achieved great success. Modernity and rigour are part of his DNA as an artist, and this is evident in everything he does, from management to the stage with full awareness of the challenges of modern society’. 

Morlot remains Associate Artist of the BBC Philharmonic Orchestra, and Conductor Emeritus of the Seattle Symphony – an honorary title bestowed on him for the extraordinary achievements of his eight years as the orchestra’s Music Director. 

The public of Catalonia will next be able to enjoy Ludovic Morlot’s artistry in the week of 17 January at L’Auditori, conducting the Barcelona Symphony in works by Bach, Betsy Jolas, Schumann, Carter, and Mahler, with the pianist Pierre-Laurent Aimard as guest soloist.

Filed under: Ludovic Morlot, music news

Seattle Opera Returns with an Abridged Concert Walküre

Saturday evening, 28 August, at Seattle Center, starting at 7pm, Seattle Opera returns to performance with a live audience with a “Welcome Back Concert” consisting of highlights from Die Walküre. More than 2,000 people are expected to attend this special outdoor opera performance, which I’m chagrined I will have to miss.

It’s sold out but jumbo screens will allow anyone who strolls down to the Seattle Center Campus to enjoy the performance at various non-ticketed areas.

The cast: Angela MeadeEric OwensAlexandra LoBianco (most recently Seattle Opera’s Tosca), Raymond Aceto, and Brandon Jovanovich. The Seattle Symphony Orchestra will be led by the group’s former leader Maestro Ludovic Morlot.

Filed under: Ludovic Morlot, music news, Seattle Opera, Seattle Symphony

Ludovic Morlot Returns to Seattle Symphony

Watch Ludovic Morlot’s reunion with Seattle Symphony on Thursday 5 November at 7.30pm PT. You can watch the livestream on Seattle Symphony Live* here.

The program includes THOMAS ADÈS/Three Studies from Couperin; DEBUSSY: Danses sacrée et profane; MARTIN/Ballade for Flute and Orchestra; and HONEGGER/ Symphony No. 2.

*Monthly passes to Seattle Symphony Live are $12.99/month  and include a free 7-day trial with no commitment required. 

Filed under: Ludovic Morlot, Seattle Symphony

John Luther Adams: Become Desert

Become Desert by John Luther Adams — one of his most spellbinding and innovative compositions — has just been released. Here’s my review from the world premiere by Seattle Symphony and Ludovic Morlot last year.

It’s a rare concert when a major work of Beethoven gets upstaged. Rarer still when the music responsible for the upstaging is brand new…

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Filed under: John Luther Adams, Ludovic Morlot, Seattle Symphony

Ludovic Morlot Takes Leave of the Seattle Symphony (For Now)

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Ludovic Morlot at his farewell Seattle Symphony concert; photo (c) Brandon Patoc

A look at Ludovic Morlot’s Seattle Symphony legacy:

SEATTLE — With the elegiac strains of the Mondscheinmusik interlude from Richard Strauss’s Capriccio as an encore, Ludovic Morlot brought his final program as music director of the Seattle Symphony Orchestra to an end over the weekend. Stepping back to let the spotlight fall on principal horn Jeffrey Fair during his incandescent solo was a characteristically generous touch. It reminded me of the moment at the end of his opening night concert in 2011, when Morlot descended the podium to join the violin section during Boléro — music making as a shared undertaking among equals.

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Filed under: Ludovic Morlot, review, Seattle Symphony

Ludo’s Farewell Concert

Strauss & Dvorak ConductingIt’s already here: this weekend Ludovic Morlot is leading his final performances as music director of the Seattle Symphony Orchestra. The program is characteristically enticing and original: Wagner’s Prelude and Liebestod from Tristan und Isolde followed by a suite from Debussy’s Pelléas et Mélisande (fashioned in 1983 by Marius Constant) and the Nocturnes, and a genuine rarity: Leoš Janáček’s cantata The Eternal Gospel, written on the eve of the First World War.

I’ll be putting together some thoughts on the significance of the Morlot era in Seattle soon. In the meantime, it will be a bittersweet occasion tonight, but with the consoling thought that Ludo should be back here with some frequency thanks to his new title as Conductor Emeritus.

Filed under: Ludovic Morlot, Seattle Symphony

Ludovic Morlot Named Seattle Symphony Conductor Emeritus

This announcement just in from Seattle Symphony:

Seattle Symphony Board Chair René Ancinas and President & CEO Krishna Thiagarajan announced today that Ludovic Morlot, the Seattle Symphony’s Harriet Overton Stimson Music Director, has been named to a new position, the Judith Fong Conductor Emeritus, in recognition of his exceptional role in the transformation of the Seattle Symphony over the past eight years. Morlot steps down as Music Director at the end of the current season, becoming Conductor Emeritus this fall. He will be succeeded by Music Director Designate Thomas Dausgaard, who has served as the Seattle Symphony’s Principal Guest Conductor since 2014.

The lifetime title of Conductor Emeritus is being bestowed on Morlot in recognition of his past accomplishments and his future relationship with the orchestra. Morlot will return for regular guest conducting engagements and will have the opportunity to continue working with the orchestra on future recordings, tours and residencies when the Music Director is not available. As Conductor Emeritus, Morlot will continue his fruitful relationship with the Seattle Symphony, which has resulted in an expanded orchestra, nearly 60 commissions and premieres, 19 recordings on the Seattle Symphony Media label, five Grammy Awards, and Gramophone’s Orchestra of the Year Award.

Filed under: Ludovic Morlot, music news, Seattle Symphony

Heiner Goebbels Brings His Surrogate Cities to Seattle

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Seattle Symphony in Heiner Goebbels’s Surrogate Cities; photo by James Holt

Last night’s program was a landmark not just of this season but of the Ludovic Morlot era. By the end of the concert, which was devoted exclusively to Surrogate Cities by Heiner Goebbels, the thrilling sense of having just shared a one-time experience had palpably swept through the audience.

It was clear that this full-throttle performance by an expanded Seattle Symphony and guest artists Jocelyn B. Smith and David Moss had been an unprecedented evening at Benaroya — opening up new vistas about what a symphony concert can be and how much territory remains unexplored in the context of this revered medium.

The German composer Heiner Goebbels, an especially compelling personality among the postmodern avant-garde (and now 66), emerged in the 1970s as a socially engaged leftist with a radical understanding of the composer’s identity — and responsibility. His interest in the stage and film and in popular musical idioms is anchored in a fascination with the theatricality of musical performance — hence his close and fruitful association with such figures as the East German playwright Heiner Müller.

Goebbels’s efforts to blur stereotypical distinctions (between composing/performing, for example, or music and other arts, let alone between genres) became a signature well before defying such boundaries was a more widely adopted stance.

Surrogate Cities is a massive, immersive project that began in the 1990s as “an attempt to approach the phenomenon of the city from various sides, to tell stories of cities, expose oneself to them, observe them,” in the composer’s own words. Seattle Symphony’s presentation last night included the world premiere of a brand-new section the orchestra had commissioned: Under Construction, which occurs as the sixth of seven sections, the whole work now lasting close to an hour and a half.

Goebbels points out that Surrogate Cities “was inspired partly by texts, but also by drawings, structures, and sounds, the juxtaposition of orchestra and sampler playing a considerable role because of the latter’s ability to store sounds and noises ordinarily alien to orchestral sonorities.”
The work’s title comes from the novel Surrogate City published in 1990 by his contemporary, the Irish writer Hugo Hamilton, which provides the text used in the seventh, final section, “Surrogate.”

The pluralization here is characteristic: Goebbels’s manner is omnivorous (though in a sense different to Luciano Berio, whose musical rivers drifting with postmodern flotsam evoke another category of aesthetic response) — as with John Cage, everything is up for consideration as part of the total art work.

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Jocelyn B. Smith, vocalist, and Ludovic Morlot with Seattle Symphony; photo by James Holt

At the same time — and Morlot brought this out brilliantly — Goebbels shows a connection to some surprisingly traditional ideas about working out musical motifs and cells and establishing coherent architectures. It is in its arresting juxtapositions — of rigorous, “serious” orchestration with all-out aural assault from aggressively amplified samples, instrumentals and radically different kinds of vocals, symphonic logic and surreal sound images — that Surrogate Cities casts its spell, provoking unexpected thoughts about the repertoire and suggesting the overlooked musicality of daily life.

Goebbels also created the lighting design that in some ways functions like a second conductor. Over 150 cues call for lots of different moods: from luminous gold to mystical, intimate blue or the shadows of a dodgy nightclub, later followed by a kind of rock arena flamboyance. The composer has here discovered a new “art of transition,” the lighting assisting the transformations in character of his urban soundscapes.

The vast orchestra meanwhile became a veritable spectacle, swelling to fill the Benaroya stage, with five percussionists perched atop a raised platform upstage. Their “extra” instruments (balls swirling in a glass bowl, shaken sheets of foil) enhanced the character of Goebbels’s orchestration as inherently theatrical.

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Heiner Goebbels, David Moss, and Jocelyn B. Smith (l-r); photo by James Holt

Prominent roles for two vocalists are integral to this symphonic spectacle. Jocelyn B. Smith was a highlight during a movement of three songs (“The Horatian”) recounting a story from ancient Roman history, her mezzo in the tragic refrain about inevitable violence plummeting deep into the soul of each syllable.

David Moss, an unclassifiable vocalist and improvisational genius for whom Goebbels tailored parts of the work, was a trippingly tongued, one-man vocal orchestra, commanding an improbable spectrum of pitches and complex rythms (imagine Elliott Carter penning patter song).

A lengthy section that blends sampled sounds with the orchestra (including an especially moving use of Jewish chant preserved on “scratchy recordings from the 1920s and ’30s”) brought to mind more recent efforts, such as the electronica brand with which Mason Bates initially made his name — to the detriment of the latter, which seem distinctly pedestrian by comparison.

Goebbels can summon the energy of a rock band from his forces, but without “dumbing down” the orchestra: he makes room for subtle dynamic differentiation and fascinating timbral combinations of the live instruments and his palette of sampled industrial sounds. An especially exciting moment was the carefully built, superheated crescendo Morlot elicited in the final section, leading to Moss’s vocal outburst, “She’s been running…”

“The associations I have are with a realistic, certainly contradictory, but ultimately positive image of the modern city,” according to Goebbels. “My intention was not to produce a close-up but to try and read the city as a text and then to translate something of its mechanics and architecture into music…”

Filed under: Ludovic Morlot, review, Seattle Symphony

Demarre McGill Dazzles in Dalbavie Flute Concerto

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Demarre McGill, Ludovic Morlot, and Marc-André Dalbavie with Seattle Symphony

Seattle Symphony audiences are familiar with Demarre McGill’s magical flute artistry from countless solo moments he’s performed as the ensemble’s principal flute. But this week’s program puts him center stage for the Flute Concerto by Marc-André Dalbavie — and it was an unforgettable highlight of Thursday’s performance.

The French composer wrote his Flute Concerto in 2006 for the Berlin Philharmonic’s principal flutist, the Franco-Swiss Emmanuel Pahud, so you can readily imagine the caliber of playing required. Even at 17 minutes, relatively brief for a concerto, the piece keeps the soloist frenetically active for long stretches.

McGill negotiated its challenges with pure grace and eloquence, engaging in Dalbavie’s unusual dialectic with the orchestra. Rather than a sweet-tuned concerto of airy charms, the flute seems to be simultaneously urging on and trying to tame the orchestra’s ebullient spirits. McGill projected a complex protagonist, Orphic in the central slower section, sprightly as Puck girdling the earth in the rapidfire passages.

Ludovic Morlot led a vivid, gorgeously textured performance that was the theme of the entire generous program, mostly a French affair. He began with another of his specialities, Maurice Ravel’s Suite from Ma mère l’Oye. This time, I detected a radiant, but never forced, tone of elegiac wonder in Sleeping Beauty’s Pavane and the concluding scene of the Enchanted Garden. There was ebullience in the latter as well, underscoring a kinship with the parallel concluding moment in The Firebird. The SSO’s playing was at its most refined, full of silken caresses and subtly articulated rhythms.

The first half ended with the world premiere of Tropes de : Bussy, an ambitious symphonic work the SSO commissioned from Joël-François Durand, Associate Director of the UW School of Music. The title alone requires considerable unpacking and points to the layered associations and post-modern play of Durand’s score. Explains the French-born composer, who developed his concept of the piece while orchestrating some of the piano Préludes of Debussy: “As I kept re-working my arrangements, I gradually started to modify the original music, as if adding more and more interpretive filters with each attempt… Tropes de : Bussy is at first glance a pun on the French composer’s last name, but it also reflects the distance I took from the original texts, revealing and at the same time hiding most of the actual music.”

Durand chose five of the Book I Préludes (Les sons et les parfums, La danse de Puck, Le vent dans la plaine, Des pas sur la neige, and Minstrels. There was much to admire in the imaginative soundscapes he conjured from a large orchestra. If the piece seemed to overstay its welcome, stretching the game of hide-and-seek with the familiar Debussyan harmonies and ideas on at great length, it offered numerous enchanting moments (particularly the “slow” movement after Des pas sur la neige. With its deconstruction of rhythmic structures, the finale after Minstrels recalled something of Ravel’s strategy (though not his sound world) in La valse.

To conclude, Morlot led the one non-French work on this wonderful program. His account of Mozart’s later G minor Symphony, K. 550, glistened with the textural alertness that had been his focus in the French pieces. Taking the Andante at a brisk “walking” tempo worked especially well, and Morlot set off sparks by leaning into the cross-rhythms of the Minuet. The relentless drive of the outer movements gained freshness from being juxtaposed with the Dalbavie.

Review (c) 2019 Thomas May

Filed under: commissions, Ludovic Morlot, Maurice Ravel, Mozart, new music, review, Seattle Symphony

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