MEMETERIA by Thomas May

Music & the Arts

Seth Parker Woods Comes to Seattle

Here’s a recital debut I’m especially looking forward to: Seth Parker Woods at the Performance Chapel. My Seattle Times story on this remarkable cellist.

Performances by Chicago-based cellist Seth Parker Woods are not only ear-opening: They expand your perceptions of his instrument’s identity itself.

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Filed under: cello, new music, Seattle Times, Seth Parker Woods

The Magic Lute: Aaron Grad’s New Concerto for Electronic Theorbo

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Aaron Grad

My story for the Seattle Times on Aaron Grad’s Strange Seasons, which will receive its world premiere this weekend:

Stories of falling head over heels for an instrument are not unusual. What is unusual is love at first sight — or sound — when that instrument is the theorbo….

 

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Filed under: new music, Seattle Times

Byron Schenkman & Friends Present the Poetry of Schumann

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Byron Schenkman (Will Austin/Will Austin Photography)

For Robert Schumann, the Romantic concept of poetry was the common denominator that inspired him to compose across a wide range of genres…

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Filed under: Byron Schenkman, Schumann, Seattle Times

Berlioz Festival Coming Up at Seattle Symphony

Hector BerliozMy story on Ludovic Morlot, Seattle Symphony, and Berlioz immersion in the Seattle Times:

Ludovic Morlot’s connection to Hector Berlioz goes deep. When he was 12, his parents moved to a house just a few miles from La Côte-Saint-André, the composer’s native village in the southeastern corner of France.

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Filed under: Berlioz, Ludovic Morlot, Seattle Symphony, Seattle Times

Dmitry Sinkovsky’s Vivaldi Project

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Dmitry Sinkovsky (Photo credit: Marco Borggreve)

Casting a spell over your audience as a violin virtuoso is remarkable enough. But some musicians are real overachievers.

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Filed under: Seattle Symphony, Seattle Times, Uncategorized, Vivaldi

Seattle Symphony Sets Tone for Ambitious Season

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Giancarlo Guerrero is filling in forSeattle Symphony Music Director Ludovic Morlot. (Photography by Ma2la)

My latest Seattle Times story:

Gustav Mahler knew how to persist.

In 1888, the twenty-something Mahler played the first movement of his Second Symphony on the piano for conductor Hans von Bülow, an important early mentor. Bülow was famous for, among other things, introducing the world to a score once regarded as “unplayable”: Wagner’s epochal “Tristan und Isolde.”

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Filed under: Mahler, Seattle Symphony, Seattle Times

John Luther Adams World Premiere at Emerald City Music

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My latest Seattle Times story:

Emerald City Music is an innovative series that presents chamber music in a relaxed, intimate South Lake Union venue as well as around the region. Fresh off its inaugural season, Emerald City landed an opportunity to present a world premiere from one of today’s hottest composers.

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Filed under: John Luther Adams, Seattle Times

Ludovic Morlot To Make Berlin Philharmonic Debut

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Opera star Joyce DiDonato is shown with Ludovic Morlot and the Seattle Symphony last September. Morlot and DiDonato will appear together in Berlin later this week. (Carlin Ma)

The Seattle Symphony’s music director has been asked to replace an ailing colleague as guest conductor of this week’s concerts with Berlin Philharmonic — one of the world’s most prestigious orchestras.

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

Music of Remembrance’s Latest Program Is Also Music of Our Time

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Stojka, Ceija. “Hiding”. Courtesy of Pat and Marcus Meier

My story for The Seattle Times on Music of Remembrance’s latest commission (details on the concert here):

Mary Kouyoumdjian’s to open myself, to scream, inspired by Roma artist and Holocaust survivor Ceija Stojka, is at the center of MOR’s May 21 program. “Our mission is to speak out for oppressed people,” says MOR founder Mina Miller.

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Filed under: commissions, Music of Remembrance, new music, Seattle Times

Chasing Victory with Beethoven’s Fifth at Seattle Symphony

My Seattle Times preview of this week’s Seattle Symphony program:

Three shorts and a long.

It’s the musical equivalent of E =mc 2 : on the surface, a deceptively simple formula that yields previously unimaginable results — including many Ludwig van Beethoven himself couldn’t have possibly foreseen. In World War II, the Allies equated the Fifth Symphony’s famous motto with the dot-dot-dot-dash denoting “V” in Morse code. The BBC regularly included this “V for Victory” message of hope in broadcasts to Nazi-occupied Europe.

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Filed under: Beethoven, Ludovic Morlot, Seattle Symphony, Seattle Times

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