The SOUNDbox team includes, from left, Marina Albero (curator), Steve Peters (Nonsequitur director), Heather Bentley (board member), Carlos Snaider (curator) and Leanna Keith (curator) (credit: Daniel Husser)
Here’s my Seattle Timesstory on a new Nonsequitur series that’s about to launch at the Chapel Performance Space:
Experimental music. Contemporary classical and post-classical. Free improvisation. Electroacoustic. Sound installation. Avant-garde … There’s a bewildering babel of labels used to try to classify artists who are defiantly unclassifiable….
Composer and conductor John Adams returns to Seattle Jan. 6 and 8, his fourth round with Seattle Symphony since making his podium debut here in 2004. (Musacchio-Ianniello-Pasqualini)
Here’s my latest Seattle Timesstory, about John Adams as composer and conductor:
Seattle Symphony audiences have another reason to be proud of their band…
Sandbox Percussion is scheduled to perform Andy Akiho’s “Seven Pillars” in Seattle on Dec. 3 and in Olympia on Dec. 4. (Daniel Ashworth)
Seven Pillars, an epic for percussion quartet by the marvelous composer Andy Akiho, receives its live performance world premiere this weekend in Seattle by the Sandbox Percussion ensemble. My story for The Seattle Times:
“The spirit of percussion opens everything,” musician John Cage once declared. He had in mind the way percussion music can open the door to unaccustomed ways of listening — and even of perceiving the environment around us…..
And this weekend brings another not-to-be-missed percussion classic: Michael Gordon’s hour-long Timber, for six players, which is being presented by Base: Experimental Arts + Space: 6520 5th Avenue South, #122nd, Seattle, WA 98108 on Dec 4 and 5 at 3 and 8pm. Features a six-player instrument built by local master carpenter Isaac Anderson & light design by Kevin Blanquies.
The familiar dread that accompanies air travel — Will my flight be delayed? Will I end up stranded? — has only become aggravated in the time of the coronavirus. But the reverse side to such anxieties is the promise of escape, which leads us ever onward. The resulting ambiguity gives airports their tremendous symbolic power.
Milestone anniversaries are supposed to be predictable events.
And since no figure in the classical music firmament looms as large as Ludwig van Beethoven, the classical music world was counting on the composer’s 250th birthday this year as a major selling point. But coronavirus started wreaking its havoc, and countless Beethoven-related events had to be scuttled — or adapted on the fly to constraints no one could have predicted….
Harpsichordist Mahan Esfahani plays with the Seattle Symphony on Friday and Saturday, Jan. 11 and 12. (Kaja Smith)
Here’s my Seattle Timesprofile of harpsichordist Mahan Esfahani:
“Controversial artist” is not one of the images that a professional harpsichordist tends to conjure. It cuts against the grain of countless stereotypes involving restraint, uptightness, dusty academicism. But flipping stereotypes is one way of characterizing the remarkable career of Mahan Esfahani, who makes his Seattle Symphony debut this weekend (Jan. 11 and 12) as the soloist in a program juxtaposing two generations of the Bach family.
Performers in The Routes of Slavery, which comes to Seattle on Tuesday, Nov. 6. (Foundation Centre Internacional de Music Antiga)
My Seattle Times story on the upcoming Seattle performance of Jordi Savall’s The Routes of Slavery is now online:
Joined by a global array of musicians, music researcher and virtuoso Jordi Savall traces the relevant story of the African diaspora and its musical legacy across centuries and continents in The Routes of Slavery.
I had the privilege of interviewing Shokichi Tokita for my latest Seattle Times story. As a boy of 8, he was incarcerated with his entire family at the infamous Minidoka”War Relocation Center” in Idaho soon after Pearl Harbor.
This week brings the world premiere of the new large-scale orchestral work from John Luther Adams, which Seattle Symphony and Ludovic Morlot will perform Thursday and Saturday. My preview for The Seattle Times:
“Close your eyes and listen to the singing of the light,” exhorts Octavio Paz in “Piedra Nativa” (“Native Stone”)….