March 2025 – Gathering Note

CMS musicians bring warmth and vitality to Harris Theater performance of Schubert, Mozart and W.F. Bach

_{Pianist and CMS Co-Director Wu Han. Photo Credit: Chamber Music Society of Lincoln Center}

Originally published on Seen and Heard International

Chicago’s classical music scene is undeniably shaped by the towering presence of the Lyric Opera and the Chicago Symphony, institutions that draw crowds with their scale and prestige. Against this backdrop, the Chamber Music Society of Lincoln Center’s series at the Harris Theater stands out as a quieter, yet equally vital, counterpoint—offering an intimate alternative that feels both rare and refreshing in a city where chamber music isn’t the first thing on most concertgoers’ minds. Tuesday’s CMS performance drove that point home, showcasing the unique appeal of small-ensemble playing in an intelligent program of Schubert, Mozart and Wilhelm Friedemann Bach.

Before the music began, co-artistic director Wu Han stepped out to greet the audience, striking a relatable note by admitting she’d heard some subscribers chose to spend their evening at the Lyric Opera’s La Boheme instead. With a wry smile, she turned the moment into a pivot to the future, announcing the dates for next season. Her co-director and husband David Finkel, will announce next season’s program at CMS’s final Chicago concert in April.

Seattle Symphony offers dramatic range with Stravinsky, Mozart, and a local premiere

Originally published on Seen and Heard International

I have heard the Seattle Symphony perform Stravinsky’s The Rite of Spring countless times. This includes at least one performance each under the baton of its permanent music directors over the past two decades—from Gerard Schwarz’s unrelenting drive to Ludovic Morlot’s textural brilliance and Thomas Dausgaard’s focus on the Rite’s folk influences and form. Last week, guest conductor Peter Oundjian brought his own vision of the work to Benaroya Hall, offering an interpretation that braided Morlot’s detailed approach with Dausgaard’s emphasis on shape.

From friendship to music: Williamson premieres Theofanidis’ Indigo Heaven at the CSO

_{CSO Principal Clarinet Stephen Williamson. Photo Credit: Todd Rosenberg}

Originally published on Seen and Heard International

On a summer day in 2022, Stephen Williamson stood outside in Aspen, Colorado, with his clarinet. Surrounded by an endless blue sky, mountains, and the sun, Williamson—the Chicago Symphony Orchestra’s principal clarinetist—worked through intricate passages of a brand-new concerto. Its composer, Christopher Theofanidis, was right there with Williamson, shaping the music in real time. “Playing it outside in the fresh air, with the mountains around us, brought a whole new dimension to the sound,” Williamson recalls.

After almost three years of anticipation—due in part to an unexpected health setback— Williamson is finally set to premiere the concerto, Indigo Heaven, which was written specifically for him. “This piece has been on my mind for so long,” he says. “It’s deeply personal, and I can’t wait to finally share it with an audience.” That moment in Aspen was just one step in a long journey for the work, which began as a casual conversation and evolved into one of this concert season’s most highly anticipated premieres.