MEMETERIA by Thomas May

Music & the Arts

Seattle Symphony’s New Venue

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Octave 9 can create a 360° shared virtual experience with a surround video screen, in-the-round seating and responsive video and acoustics. (Rendering by LMN Architects)

Seattle Symphony just announced that it will open its new Octave 9: Raisbeck Music Center in February 2019.

Octave 9 will be located in what has been called the Soundbridge Seattle Symphony Music Discovery Center (corner of Second Avenue & Union Street). The new initiative, according to SSO, is intended to create “a versatile, immersive environment for inventive performances, education opportunities, and community engagement” — which is reminiscent of the “salle modulable” paradigm that has been realized, for example, at the Pierre Boulez-Saal in Berlin.

Why the name? “Octave 9: Raisbeck Music Center is named in honor of Seattle philanthropists James and Sherry Raisbeck, who provided a $2 million matching challenge to transform the former Soundbridge. The name, created by LORE Naming, was inspired by the size of a concert grand piano, which spans just over seven octaves. A nine-octave range, then, pushes past the boundaries, redefining what is musically possible.”

SSO’s press release continues: “Combining a modular surround video screen with 13 moveable panels, 10 ultra-short-throw projectors, motion-capture cameras, and a state-of-the-art Meyer Sound Constellation® Acoustic System with 42 speakers and 30 microphones, the technology in Octave 9 can create a 360° shared virtual experience or disappear into the background for a more traditional setting.”

The first artist-in-residence at Octave 9 will be the cellist Seth Parker Woods, the subject of my Strings magazine cover story last summer. “During his residency, he will premiere a number of new works for cello and multimedia commissioned by the Seattle Symphony from a diverse group of composers and visual artists.”

read more about Octave 9

Filed under: music news, Seattle Symphony, Seth Parker Woods

Seattle Symphony Names New President and CEO

SSO

By a unanimous vote of its Board of Directors, Seattle Symphony has named Krishna Thiagarajan, currently Chief Executive of the Royal Scottish National Orchestra, as its next President and CEO, succeeding Simon Woods, who recently became CEO of the Los Angeles Philharmonic. Thiagarajan will start his tenure this September.

From the SSO press release:

Thiagarajan’s track record in his past three leadership positions encompasses strong financial management including balanced budgets and significant growth in both ticket sales and donations. He has also produced numerous acclaimed recordings and several international tours, as well as commissioned new works and created meaningful education programs for students. His past leadership has included strong community and corporate relationships, and a personal emphasis on creating an inclusive organizational culture.

Thiagarajan: “I believe the Seattle Symphony to be among the most innovative orchestras in the United States, having delivered an impressive track record of growth, artistic excellence and strong community presence. In collaboration with this outstanding group of musicians, staff and board, as well as dedicated supporters, I look forward to serving the community of the greater Seattle area as the orchestra becomes an even more prominent cultural ambassador for the Pacific Northwest.”

Thiagarajan replaces former President & CEO Simon Woods who became the CEO of the Los Angeles Philharmonic in January after seven years of exemplary leadership in Seattle.

Complete press release

Filed under: music news, Seattle Symphony

Joana Carneiro to Step Down

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From Berkeley Symphony comes this news:

Joana Carneiro announces her intent to step down as Music Director of Berkeley Symphony after nine seasons.

Joana Carneiro, whose adventurous artistic vision and leadership has garnered both critical acclaim and audience praise, has announced that she will step down as Berkeley Symphony’s music director as of the end of the 2017-2018 season and after nine seasons at its artistic helm. Carneiro will stay on as Music Director Emerita.

A committee has been formed to seek the next Music Director and to determine the best approach for the future of Berkeley Symphony.

Guest conductors Ming Luke, Jonathon Heyward, Christopher Rountree, and Christian Reif have been scheduled to conduct the four symphonic concerts planned for the 2018-2019 season. Full 2018-2019 season details will be forthcoming.

Under Carneiro’s baton, Berkeley Symphony has commissioned a total of 13 new works and co-commissioned three since 2009. As part of the subscription series, Carneiro has led 14 world premieres with the Symphony, as well as one United States premiere, and 10 West Coast premieres. Through the Symphony’s Under Construction—a new music workshopping program—she has led 41 additional world premieres, solidifying hers and the Symphony’s commitment to supporting the work of living composers and broadening the symphonic repertoire.

During her tenure, Berkeley Symphony’s programmatic offerings grew to include not just mainstage performances and Under Construction—now Berkeley Sounds Composer Fellows—but the launch and growth of the Berkeley Symphony and Friends Chamber Series, and the creation of partnerships with Berkeley Art Museum & Pacific Film Archive (BAMPFA) and San Francisco Conservatory of Music (SFCM). In addition, Music in the Schools expanded both in scope and engagement under her oversight, with increases in the number of programs, number of participating schools, and number of students engaged annually.

“We are grateful to Joana for her ability to connect and establish both trust and curiosity from our musicians and our community,” said Symphony Board Chair S. Shariq Yosufzai. “As the Symphony looks ahead to its 50th anniversary season in in 2020-2021, we know that our future is bright because Joana has made an indelible mark.”

Joana Carneiro said: “I love this orchestra and the Berkeley community. I am so proud of what I have been able to accomplish together with this extraordinary organization over the past nine years and look forward to returning to Berkeley soon.”

“Joana has been an inspirational presence on the podium and off,” said Berkeley Symphony Executive Director René Mandel. “Speaking for myself and the entire Berkeley Symphony community, we will miss her dearly, but she will be back, and we so look forward to her return to Berkeley.”

Filed under: conductors, music news

Sheku Kanneh-Mason Coming to Seattle

Sheku Kanneh-Mason moved countless viewers around the world playing “Sicilienne” (attributed to*) Maria Theresia von Paradis (a contemporary of Mozart), Fauré’s “Après un rêve,” and Schubert’s “Ave Maria” at the royal wedding of Prince Harry and Meghan Markle.

Because of the engagement, Kanneh-Mason had to forego what would have been his U.S. orchestral debut in LA (with the Los Angeles Chamber Orchestra.

And so lucky Seattle gets to be the host for the cellist’s actual U.S. debut in the fall: with the Seattle Symphony under conductor Ruth Reinhardt, when he will be the soloist in Tchaikovsky’s Rococo Variations.

He’ll also give a concert in the Debut series at Lucerne Festival on 30 August, with his sister Isaka Kanneh-Mason at the keyboard.

*From the musicologist Michael Beckman (this fascinating update passed along to be by Elena Dubinets): “Can’t help noting that one of the cello pieces played at the royal wedding, the “Sicilienne” supposedly by Mozart’s blind contemporary Maria Theresia von Paradis, is actually a fake by the 20th century violinist and hoaxster, Samuel Dushkin. Pretty piece and perfect for a romantic ceremonial occasion…but also an exotic mashup based partly on a violin sonata by Weber.”

See Schott’s page for this score here:
“According to the latest research findings, ‘Sicilienne’ was not written by Maria Theresia von Paradis, but by Samuel Dushkin.”

Filed under: cello, Lucerne Festival, music news, Seattle Symphony

San Francisco Conservatory of Music Gets $46 Million Gift

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Students in the Technology and Applied Composition program at the San Francisco Conservatory of Music. Credit Sewon Barrera

My latest New York Times story is now online.

Thanks to MaryClare Brzytwa, David Stull, Emily Pitts, DuMarkus Davis.

Here are some sound samples from the TAC program:

Filed under: music news, New York Times, San Francisco Conservatory of Music, women composers

Igor Levit Is the 2018 Gilmore Artist

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Congratulations to Igor Levit for winning the 2018 Gilmore Artist Award, a distinction conferred to recognize “extraordinary piano artistry with some of the most generous financial support given in the musical arts. The $300,000 award is conferred every four years to an international pianist of any age and nationality following a rigorous and confidential selection process.”

The Gilmore Artist Award “is made through a non-competitive process. Pianists are nominated by a large and diverse group of international music professionals.” Past recipients include Rafał Blechacz (2014), Kirill Gerstein (2010), Ingrid Fliter (2006), Piotr Anderszewski (2002), Leif Ove Andsnes (1998), Ralf Gothóni (1994), and David Owen Norris (1991).

I met Levit when the Republican presidential primaries were still in progress and the idea of Donald Trump winning the election seemed absurd, but even then I recall his very serious concern about the awful possibility. As Michael Cooper puts it in this first-rate New York Times profile, Levit “has stood out by emerging as the de facto pianist of the resistance.”

My profile of Levit for Steinway & Sons from 2016:

It’s early February, over lunch before his Seattle debut later in the evening, and Igor Levit can’t stop talking about how thrilled he is to be touring the United States.”

continue reading

 

Filed under: music news, pianists

Simon Woods To Leave SSO for LA Phil

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Simon Woods, who as President & CEO has worked so closely with Ludovic Morlot to reshape the Seattle Symphony and enhance its sense of mission, will head south in January to become Chief Executive Officer of the Los Angeles Philharmonic.

Michael Cooper reports in The New York Times:

In Los Angeles, Mr. Woods will have far greater resources — and a far larger organization to run. The Los Angeles Philharmonic’s annual budget, the largest of any American orchestra, is approximately $125 million — nearly four times Seattle’s, which is $32 million. But he said he was undaunted.

Here’s the full Seattle Symphony press release:

Seattle Symphony Board to Launch Search for Successor

SEATTLE – The Seattle Symphony’s President & CEO Simon Woods, who has led the organization since 2011, will leave in January to become the Chief Executive Officer of the Los Angeles Philharmonic, widely regarded as one of the nation’s most important and forward- looking orchestral organizations. A search committee led by Board Chair Leslie Jackson Chihuly and Chair-Elect René Ancinas will be formed to launch an international search for Woods’ successor.

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Filed under: Los Angeles Philharmonic, music news, Seattle Symphony

Thomas Dausgaard To Take the Reins at Seattle Symphony

It’s official: Thomas Dausgaard, the first name that came up as Ludovic Morlot’s possible successor, will become music director of the Seattle Symphony as of 2019. He has signed a four-year contract.

Thomas Dausgaard, currently SSO Principal Guest Conductor, was widely believed to be the conductor SSO management would tap, ever since Morlot announced he will step down at the end of the 2018-19 season.

My most recent review of Dausgaard in action with the SSO in an all-Strauss program is here.

Here’s the full press release from Seattle Symphony:

SEATTLE, WA – The Seattle Symphony announced today that Danish conductor Thomas Dausgaard will become the orchestra’s next Music Director, beginning in the 2019–2020 season. Dausgaard will succeed current Music Director Ludovic Morlot whose tenure concludes after the 2018–2019 season.

Dausgaard has served as the Seattle Symphony’s Principal Guest Conductor since 2014. Additionally, he is Chief Conductor of the BBC Scottish Symphony Orchestra, Chief Conductor of the Swedish Chamber Orchestra (through 2019), Honorary Conductor of the Orchestra della Toscana, and Honorary Conductor of the Danish National Symphony, having previously served as its Principal Conductor from 2004–11.

“For several years, it has been clear that Thomas’ partnership with our musicians is grounded in deep mutual respect and admiration,” commented Leslie Jackson Chihuly, Seattle Symphony Board Chair. “His deepening relationship with the orchestra has produced some of the most electrifying concerts we’ve heard in Benaroya Hall these last few years. His work has been a wonderful complement to Ludovic’s exemplary artistic leadership. Ludovic and Thomas share many creative instincts which have shaped and contributed quite naturally to the exciting evolution of our music making. Thomas is simply the right leader for the next step in our artistic development. We greatly look forward to welcoming him to our Symphony family, and we know he will bring profound inspiration and warmth to our community.”

“Making music with the Seattle Symphony is very special to me,” shared Dausgaard. “Their inspiring artistry fuses generosity, team spirit, devotion and abandon. The orchestra is supported by an equally passionate board and administration, as well as a tremendous audience in the beautiful and acoustically stunning Benaroya Hall. I love the city of Seattle and the great natural beauty of this magical part of the world. So it is with deeply felt joy and honor that I look forward to becoming Music Director of the Seattle Symphony. My warmest thanks to my distinguished predecessors who took the orchestra to its present excellence — and to everybody now asking me to take the Seattle Symphony into the future.”

“This is a joyful outcome for the Seattle Symphony!” added President & CEO Simon Woods. “Thomas Dausgaard has evolved through his career into an artist of extraordinary insight, with all the musical and technical skills to translate his ideas into the most inspired music making. His relationship with the Seattle Symphony goes back over a decade, and for him to move from Principal Guest Conductor to Music Director represents a kind of organic artistic progression that is rare and treasurable. With his highly individual approach to programming, his deep history with recording and his experience as music director with a number of important European orchestras, he is in every way imaginable the perfect fit for our organization.”

Thomas Dausgaard’s close relationship with the Seattle Symphony began in 2003 with performances of Nielsen’s Fifth Symphony, giving Seattle audiences a first glimpse of his creativity and dynamism. Dausgaard’s first season as Principal Guest Conductor in 2014–2015 was marked by a three-week Sibelius Festival which celebrated the composer’s worldwide 100th birthday with performances of all seven of his symphonies. Since then, Dausgaard’s exhilarating and propulsive interpretations of symphonies by Mahler, Nielsen and Rachmaninov have inspired both orchestra and audiences, leading The Seattle Times to write, “The results are thrilling, with completely involved musicians playing for an unusually attentive audience, and a conductor who is a passionate advocate for music that is unapologetically beautiful,” and in another review, “You can tell by the wild cheering emanating from Benaroya Hall: Thomas Dausgaard is back in town.”

In Seattle, Dausgaard has made a point of exploring the “roots of inspiration” for composers and immersing the audience in unique, contextual experiences. In past seasons this has included local Finnish choirs spontaneously rising up out of the audience to sing Finlandia to great emotional effect during the Sibelius Festival, a chorus of alphorns in the Samuel & Althea Stroum Grand Lobby pre- and post-concert to demonstrate the sounds that Strauss was influenced by when he composed the Alpine Symphony, and the Portland-based vocal ensemble Cappella Romana singing Russian liturgical music to introduce Rachmaninov’s Piano Concerto No. 1 and Second Symphony to show the undercurrent of Gregorian chant that Rachmaninov would have heard as a child in the Russian Orthodox Church. In the current season Dausgaard will conduct two subscription programs beginning with an all-Brahms concert in January including the Haydn Variations, select Hungarian Dances, Liebeslieder Waltzes and Symphony No. 2, and in June he will conduct Sibelius’ monumental choral symphony Kullervo, presented alongside performances of traditional music by Finnish folk musicians.

A champion of contemporary music, Dausgaard conducted the American premiere of Snow by British composer Helen Grime in June 2017. Snow is part of an ongoing series of commissions in a project devised and launched by Dausgaard titled “Scottish Inspirations” with the BBC Scottish Symphony Orchestra. Enjoying connections with many of the leading composers of today, Dausgaard maintains long-term associations with Magnus Lindberg, Per Nørgård, Bent Sørensen, Sally Beamish and Hans Abrahamsen, among others, and with the Swedish Chamber Orchestra he is currently engaged in leading an ambitious multi-season commissioning project taking its inspiration from J.S. Bach’s Brandenburg Concertos and featuring new work by Mark-Anthony Turnage, Olga Neuwirth, Anders Hillborg, Brett Dean, and American composers Steven Mackey and Uri Caine.

With over 70 albums to his name, Dausgaard joins one of America’s most recorded orchestras with its triumphant recent history including three Grammy Awards and rave reviews for many recordings on its own label, Seattle Symphony Media. Dausgaard’s projects with the Seattle Symphony include the 2016 live recording of Mahler’s Symphony No. 10 (performing version by Deryck Cooke), which was named Disc of the Year by Europadisc and nominated for a 2017 Gramophone Award with the review stating, “this exceptional issue from the Pacific Northwest ought to be a game-changer for all concerned.” Dausgaard’s latest Seattle Symphony Media live recording of Nielsen’s Symphonies No. 3, “Sinfonia espansiva,” and No. 4, “The Inextinguishable,” will be released on November 10. The Seattle Times review of the Fourth Symphony from that performance included this description, “Dausgaard underscored the drama in the mighty outbursts from nearly every section; elegant descending passages in thirds, broad unison statements, mysteriously hushed string passages and a blazing finale.”

Thomas Dausgaard was selected as the Harriet Overton Stimson Music Director following a 6-month search by an 11-member search committee comprised of musicians, board and staff and chaired by Seattle Symphony Board member Paul Leach.

 

Filed under: Ludovic Morlot, music news, Seattle Symphony, Thomas Dausgaard

In Search of Identity at Lucerne Festival

160812_16300_EO_LFO_Chailly_Solisten_Choere_P_Fischli_Lucerne_FeThe 2017 Summer Festival — which is all about the theme of “identity” — begins today in Lucerne as Riccardo Chailly leads the Lucerne Festival Orchestra in an all-Strauss program.

From accentus:

“Accentus Music is delivering the live video stream of the Lucerne Festival’s opening concert on Friday, August 11th, at 6:30 p.m. [CET]. The ceremonial act which is going to take place in the KKL Lucerne will be streamed simultaneously open-air at Lucerne’s Inseli Park as well as on Facebook Live. The Lucerne Festival Orchestra and its music director Riccardo Chailly will be performing three symphonic poems by Richard Strauss: Thus Spoke ZarathustraDeath and Transfiguration as well as Till Eulenspiegel’s Merry Pranks. 

Filed under: Lucerne Festival, music news

R.I.P. Barbara Cook

Filed under: American music, Bernstein, music news

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