MEMETERIA by Thomas May

Music & the Arts

BERBERIO BASH – Luciano Berio & Cathy Berberian at 100

Born just months apart in 1925, Luciano Berio and Cathy Berberian formed one of the most daring creative partnerships of the 20th century. Together, the Italian composer and American mezzo-soprano blurred the lines between composer and performer, intellect and emotion, experimentation and play. They expanded our understanding of what a voice could do and reinvented the relationship between music and theater itself.

The Seattle Chamber Orchestra opens its fourth season on Friday 24 October with a centenary tribute to these two kindred spirits. The program, designed by SCO Founder and Music Director Lorenzo Marasso, features Berio’s beloved Folk Songs, Sequenza for voice, and Sequenza for harp, alongside works by John Cage, Luigi Dallapiccola, and Claudio Monteverdi that were signatures of Berberian’s repertoire.

The concert takes place at 8pm at the Good Shepherd Center (4649 Sunnyside Ave N, Seattle). Tickets here.

The Seattle concert is part of a global series of events celebrating Berberian and Berio throughout 2025.

PROGRAM

Luciano BERIO O King

Claudio MONTEVERDI Lamento della Ninfa

Luciano BERIO Autrefois

Luciano BERIO Wasserklavier

Giorgio Federico GHEDINI Arbero pecerillo from Quattro canti antichi napoletani

Luigi DALLAPICCOLA Divertimento in Quattro Esercizi

Luciano BERIO Sequenza II – for solo harp

John CAGE The Wonderful Widow of Eighteen Springs

Luciano BERIO Sequenza III – for solo voice

Luciano BERIO Folksongs

w members of the Seattle Chamber Orchestra

Lorenzo Marasso – conductor & piano

Stephanie Aston – solo voice

Wendy Wilhelmi – flute

Kevin Morton – clarinet

Shelly Myers – oboe

Jordan Voelker – violin & viola

Rose Bellini – cello

Alison Bjorkedal – harp

Arx Duo – percussions

Filed under: Lorenzo Marasso, music news, Seattle Chamber Orchestra

Gabriella Smith’s “Lost Coast” at Seattle Symphony

Gabriella Smith recording “Lost Coast” with cellist Gabriel Cabezas at Greenhouse Studios in Iceland. (Sandro Manzon)

Here’s my Seattle Times profile of the remarkable young composer Gabriella Smith. This week’s Seattle Symphony concerts will feature her innovative cello concerto Lost Coast, with Gabriel Cabezas as the soloist:

Her official bio reads like a manifesto: “Gabriella Smith is a composer whose work invites listeners to find joy in climate action.” The 33-year-old has built a creative world around that idea — one where music and environmentalism are inseparable…

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Filed under: American music, cellists, cello, Seattle Symphony, Seattle Times

Baroque Vitality in Motion: Ivars Taurins Leads the Seattle Symphony

Ivars Taurins conducts the Seattle Symphony; © James Holt | The Seattle Symphony

The Seattle Symphony turned agile chamber band for its all-Baroque evening under guest conductor Ivars Taurins, joined by resident organist Joseph Adam. With the Seattle Opera season opening across town – the company orchestra comprises Seattle Symphony musicians – the program made a virtue of proportion and dramatic resourcefulness….
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Filed under: Handel, review, Seattle Symphony

New from John Adams

I’d meant to post a link to my program note for John Adams’s brand-new orchestral piece, The Rock You Stand On, written for Marin Alsop, who recently led the Philadelphia Orchestra in the world premiere:

Listening to John Adams often feels like stepping into a drama already in motion …

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Filed under: John Adams, Philadelphia Orchestra, program notes

Happy Birthday! Yo-Yo Ma at 70

Yo-Yo Ma © Brantley Gutierrez

The legendary cellist was born on 7 October 1955. The Strad takes a look at some moments of the cellist’s unparalleled career over the decades…

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Filed under: music news, The Strad, Yo-Yo Ma

JACK Quartet Celebrates Helmut Lachenmann at 90

JACK Quartet in rehearsal with Helmut Lachenmann; courtesy of JACK Quartet

To celebrate the 90th birthday of German avant-garde composer Helmut Lachenmann, the JACK Quartet perform his three string quartets in a single evening at Columbia’s Miller Theatre – and reflect on their long association with his radical sound world. My interview with the ensemble for The Strad:

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Filed under: JACK Quartet, string quartet, The Strad

Emma Wernig: Musical America’s New Artist of the Month

Here’s my profile of violist Emma Wernig, Musical America’s New Artist of the Month for October:

In many chamber settings, the viola tends to blend into the texture—which made Emma Wernig’s playing all the more striking when I first encountered her last August on opening weekend at Tippet Rise. “Chamber music is my window into everything,” she says. “It’s the foundation of my solo work, my orchestral playing, everything…”

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Filed under: Musical America

The Freedom of Change: Víkingur Ólafsson’s Conversations Across the Centuries

I wrote this profile of Víkingur Ólafsson for Cal Performances, which is featuring the pianist as Artist in Residence for the 2025–26 season:

“You should always try to escape your own success,” Víkingur Ólafsson says. “Because that success so easily turns against you and limits you and your choices and what you want to do next” …

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Filed under: Bach, Beethoven, Cal Performances, pianists

Goethe’s ‘Urworte.Orphisch’ Set to Music by Bernd Richard Deutsch

To open the season this weekend, Franz Welser-Möst leads the Cleveland Orchestra and Chorus in the American premiere of Austrian composer Bernd Richard Deutsch’s ambitious, nearly-hour-long Urworte, which sets Goethe’s famous stanzas to music.

Movements:

  1. Daimon: Dämon (Demon)
  2.  Tyche: Das Zufällige (The Accidental)
  3. Eros: Liebe (Love) 
  4. Ananke: Nötigung (Necessity) —
  5. Elpis: Hoffnung (Hope)

Sunday’s concert will be livestreamed on Adelladigital home of The Cleveland Orchestra.

My introduction to the work can be found in the Cleveland Orchestra program notes here.

Composers often set aside ideas that strike them in a flash of inspiration, waiting until the right moment arrives to wrestle them down in detail and give them an enduring form. For Bernd Richard Deutsch, one such idea was to write a work exploring the elemental forces that shape our lives….
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Filed under: Cleveland Orchestra, Goethe, new music, program notes

Les Arts Florissants: Gluck’s Paris ‘Orphée et Eurydice’

Some thoughts on the splendid new release from Les Arts Florissants:

What a delight to come upon Les Arts Florissants’s latest recording, Gluck’s Orphée et Eurydice. As coincidence would have it, I’d just experienced their performance of another Orpheus story on stage at the Lucerne Festival this summer: Marc-Antoine Charpentier’s La descente d’Orphée aux enfers, led by the ensemble’s founder, William Christie. Charpentier’s exquisite tragédie en musique breaks off mid-story, with Orpheus still in the Underworld and Eurydice’s fate unresolved. In its fragmentary state, Charpentier’s 1686 opera captures the stark tragedy of the myth: a descent without resolution.

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Filed under: CD review, Early Music America, Gluck, Les Arts Florissants

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