MEMETERIA by Thomas May

Music & the Arts

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

Mozart and the Genius of Love

Next up from Byron Schenkman & Friends: on Sunday 14 November 2021at 7:00 PM, Pacific Time, Byron is joined by violinist Rachell Ellen Wong and violist Susan Gulkis Assadi for an all-Mozart program. You can watch the performance free on YouTube (you can donate here).

To get in the mood, tonight, Friday 5 November, Sean MacLean hosts all three musicians in a live studio performance on Classical KING FM 98.1at 8:00 PM. They will play Mozart’s “Kegelstatt” Trio in E-flat major from the upcoming concert and other musical gems Byron wants to share.

Program for 14 November Concert


Wolfgang Amadeus Mozart:

Sonata in G Major, K. 301, for violin and piano

Wolfgang Amadeus Mozart:

Sonata in C Major, K. 330 (300h), for piano

Wolfgang Amadeus Mozart:

Adagio in C Major, K. 356 (617a), for glass harmonica (or piano)

Wolfgang Amadeus Mozart:

Trio in E-flat Major “Kegelstatt” K. 498 for violin, viola, and pian

Filed under: Byron Schenkman, Mozart, music news

RIP Nelson Freire (1944-2021)

Filed under: music news, Nelson Freire, pianists

Recovered Voices 2021: Schulhoff and More

On Tuesday 2 November, an online series delving into the life and music of Erwin Schulhoff (1894-1942) will be launched. Titled Recovered Voices 2021: Schulhoff and More and presented by the Los Angeles-based Colburn School’s Ziering-Conlon Initiative for Recovered Voices, the series will explore this prolific and multi-faceted composer who drew on an enormous range of styles and influences.

From the press release:

The Ziering-Conlon Initiative for Recovered Voices was established in 2013 with the purpose of championing composers such as Schulhoff whose lives were disrupted—or even ended—during the years of the Nazi regime in Europe. In collaboration with Robert Elias and with the critical support of individual philanthropists, the Initiative continues to bring this important repertory back to life for generations to come through performances, classes, competitions, symposia, recordings, and more.
For the past seven years, the Ziering-Conlon Initiative offered an annual semester-long course, “Recovered Voices: An Examination of Lesser-Known Composers and Works of the Early Twentieth Century,” with weekly lectures by Conlon, Elias, and other experts. Due to COVID, the annual in-person course was reimagined for digital platforms. This free series will consist of four 45-minute multimedia presentations by Conlon exploring the life and legacy of composer Erwin Schulhoff, including musical examples—most performed and recorded by Colburn musicians—in each installment.

Recovered Voices 2021: Schulhoff and MorePresented by James ConlonAll episodes premiere at 12pm PT
Nov. 2, 2021Recovered Voices 101
Nov. 16, 2021Erwin Schulhoff’s Early Life and Music: Tradition Meets Dada
Nov. 30, 2021Erwin Schulhoff: A Classical Music Jazz Prophet
Dec. 14, 2021Erwin Schulhoff: The Twenties and a Turn Toward Socialist Realism


All episodes will be available at colburnschool.edu/schulhoff.

Filed under: James Conlon, music news, recovered voices

RIP Bernard Haitink (1929-2021)

Bernard Haitink has died. The 92-year-old conductor passed away peacefully at home, according to his representatives.

I had the privilege of attending his very final concert, in the summer of 2019, when he led the Vienna Philharmonic Orchestra at Lucerne Festival. He maintained a close association with Lucerne for many years, including a nearby residence. Haitink’s farewell song was Bruckner’s Symphony No. 7 (without score), paired with Beethoven’s G major Piano Concerto, with Emanuel Ax as the soloist.

Christian Wildhagen penned an eloquent review: ““Hatte er zuvor bei Beethovens 4. Klavierkonzert vorrangig Emmanuel Ax, einem feinsinnigen Pianisten der alten Schule, in nobel-zurückhaltender Weise die Bühne bereitet, so kam bei Bruckner noch einmal der grosse Architekt, der überragende Formgestalter Haitink zur Geltung. Wie beim späten Günter Wand wird die Detailarbeit hier mitnichten zur Nebensache, sie bildet aber lediglich die Basis für eine viel weiter ausgreifende Gestaltung, in der Entwicklungen teilweise über drei, vier Minuten behutsam entfaltet werden (etwa in der magischen Rückführung zur Reprise im ersten Satz oder beim grossen Wagner-Epitaph im Adagio), während sich die Spannungsbögen sogar bruchlos über ganze Sätze wölben.”

That summer–the last before the pandemic–there was also a vernissage for the publication of Erich Singer and Peter Hagmann’s fine collection of essays and conversations with Haitink: Dirigieren ist ein Rätsel. An English translation has yet to be issued.

Filed under: Bernard Haitink, Lucerne Festival, music news

Joy and Sorrow Across the Waters

UPDATE: Here’s a link to this lovely concert.

Byron Schenkman & Friends launch their ninth season on Sunday, 17 October, with the program Joy and Sorrow Across the Waters. It promises to be a fascinating program, presenting traditional music and stories of the Coast Salish People alongside 17th-century European Baroque music for violin and harpsichord from Spain, Italy, Germany, and the Netherlands. The performers include Native American flutist Paul Chiyokten Wagner, Ingrid Matthews, and Byron Schenkman.

This free digital premiere will launch at 7:00 PM, Pacific Time, and remain available on the BS&F website (www.byronandfriends.org) and the BS&F YouTube channel (https://youtube.com/c/ByronSchenkmanFriends). Free access; donations welcome here.

The program lineup:

Bartolomeo de Selma y Salaverde: Canzona III (for violin and continuo)
Maddalena Casulana: Amor per qual cagion (for harpsichord)
Paul Chiyokten Wagner: Elk Spirit Calls (for flute and drum)
Jan Pieterszon Sweelinck: Unter der Linden grüne (for harpsichord)
Johann Schop: Lachrymae Pavan (for violin and continuo)
Paul Chiyokten Wagner: Skitu: story of a merwoman
Paul Chiyokten Wagner: Gentle Crystalline Waters (for solo flute)
Paul Chiyokten Wagner & Byron Schenkman: Salish Sea Improvisation (for flute and harpsichord)
Andrea Falconieri: La Monarca (for violin and continuo)
Giovanni Battista Fontana: Sonata III (for violin and continuo)

Filed under: Byron Schenkman, music news

Two Pianos, 40 Fingers: Judith Cohen & Friends

The beloved Seattle-based pianist Judith Cohen will be joined Jill Timmons, Terry Spiller, and Dean Williamson for an intriguing edition of the Governor’s Chamber Music Series on Sunday, 10 September, at 3pm at the Meydenbauer Center in Bellevue, WA. Titled Two Pianos, 40 Fingers, the eight-hands program includes music by Liszt, Debussy, Ravel, Piazzolla, and more.

Filed under: music news

Elena Dubinets, Russian Composers Abroad

Russian Composers Abroad

The much-anticipated new book by the eminent musicologist and artistic programming genius Elena Dubinets has just been published: Russian Composers Abroad: How They Left, Stayed, Returned. I had the honor of contributing one of the cover blurbs for this study of a century of Russian émigré composers (especially from the 1970s on) and diasporic identities.

As Vice President of Artistic Planning and Creative Projects for Seattle Symphony, Elena Dubinets not only played a decisive role in shaping that institution — its international profile grew significantly under her tenure — but left a mark the American orchestral field generally.

To Seattle’s loss, Dubinets left the SSO just before the pandemic and has only recently embarked on a new path as Artistic Director of the London Philharmonic. The LPO is going through an exciting period of transition as it returns to live performances under its new Chief Conductor, Edward Gardner.

Highly recommended!

Filed under: book recs, music news

RIP Carlisle Floyd (1926-2001)

From NPR:

Composer Carlisle Floyd, widely viewed as a founding father of American opera, died Thursday at age 95 in Tallahassee, Fla. His death was announced by his publisher, Boosey & Hawkes, which did not share the cause of his death.

Filed under: music news

What’s Happening to Seattle Symphony’s Thomas Dausgaard?

Seattle Symphony just announced that Thomas Dausgaard, who was reportedly unable to join his orchestra for last weekend’s much-anticipated gala concert and comeback to live performance, has been “further delayed due to pandemic restrictions.” As the official press release phrases it: “Due to continued and unavoidable governmental delays, the Seattle Symphony’s Music Director Thomas Dausgaard is unable to join the orchestra for his originally scheduled Delta Air Lines Masterworks Series concerts in October.”

Why the “continued and unavoidable governmental delays” when other artists have successfully managed the paperwork and roadblocks? Are they really unavoidable?

Here’s the complete wording of the press release:

Seattle, WA — Due to continued and unavoidable governmental delays, the Seattle Symphony’s Music Director Thomas Dausgaard is unable to join the orchestra for his originally scheduled Delta Air Lines Masterworks Series concerts in October.

As Dausgaard’s work visa process continues to be severely stalled due to COVID-19-related travel issues, the Seattle Symphony has confirmed two renowned guest conductors as substitutes. Eight-time Grammy winner Giancarlo Guerrero will take to the podium on October 7 and 9 for vibrant concerts that include Rachmaninov’s Symphonic Dances and Arturo Márquez’s Fandango, a new violin concerto featuring revered soloist Anne Akiko Meyers. Meyers will be performing instead of the previously announced violinist, Patricia Kopatchinskaja, who also encountered pandemic travel restrictions. Music lovers can also stream the October 7 concert on Seattle Symphony Live. Then, on October 14 and 16, Stefan Asbury will make his Seattle Symphony debut for a performance featuring soprano and composer Adeliia Faizullina and her Tatar Folk Songs, which won the Seattle Symphony’s 2020 Celebrate Asia Composition Competition.

Filed under: music news, Seattle Symphony

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