The music of the Twentieth Century echoed through Seattle’s concert halls this weekend. Michael Stern and the Seattle Symphony started the weekend with performances of Edgard Varese’s rarely heard Integrales, Victor Herbert’s equally rare Cello Concerto No.2 and the romantic longing of Rachmaninov’s Symphony No.3. However, the real treat of the weekend was Benjamin Britten’s War Requiem. George Shangrow and his talented, home-grown Orchestra Seattle and Seattle Chamber Singers played the Requiem. By most accounts the piece has not been heard in the Puget Sound for almost thirty years.
Two themes ran through both performances. On the one hand, Varese and Britten were deeply impacted by the carnage of war. Varese was conscripted into the army before he fell ill and made his way to the United States. Similarly, Benjamin Britten was a staunch conscientious objector who crafted his Requiem for the dedication of the rebuilt Coventry Cathedral. Britten also dedicated the piece to four friends who died during World War II. The pessimism and renewal that follows a period of war are found in both pieces.
Conversely, while Britten and Varese were taking music in new directions. Varese exploding harmony and line in favor of “sound masses,” rhythm and timbre and Britten later explored traditional forms in inventive ways, Sergei Rachmaninov and Victor Herbert seemingly clung to the old-fashioned, idioms of the past.
Roughly 60 years separates the earliest work, Herbert’s Cello Concerto No.2 (the earliest work) and the War Requiem (the latest). The separation in time is not obvious. Rachmaninov’s symphony sounds as if it were composed contemporaneously with Herbert’s concerto. In fact, forty years separate the works. Similarly, Varese’s musicial idiom is so jarring that I suspect most listeners would not place the composition at the start of the last century. Britten’s War Requiem is just as elusive.
Herbert’s concerto seems obsolete in comparison to the work of his contemporaries (Debussy, Mahler, and Sibelius). Nonetheless, as evidenced by his almost constant swaying and humming (?), guest cellist Lynn Harrell enjoyed the piece and so did the audience. Harrell luxuriated in the work’s artifice and the audience eagerly joined him on the ride. Rachmaninov’s Symphony No.3, composed less than a decade after Varese’s uncomfortable Integrales, clings to the romantic sentiment that was being jettisoned by composers in Europe and America.
Michael Stern is building a formidable career with the Kansas City Symphony by conducting pieces usually overlooked by larger, more well known orchestras. This year alone, Stern is conducting excerpts from Berg’s Wozzeck, Stephen Dankner’s The Apocalypse of St. John, Lou Harrison’s Concerto for Pipa and String Orchestra and Tchaikovsky’s Symphony No.1, Winter Dreams. His recent release on Naxos of Gordon Shi-Wen Chin’s Double Concerto has been favorably reviewed by music critiques.
The collision of red state Missouri and Kansas is an unusual place for new and forgotten classical music to find an audience. It’s a development that should give Seattle pause.
Britten’s War Requiem ties the past and present together. His dissonance is counterbalanced with haunting moods and abundant atmosphere. Britten’s affinity for vocal composition is credited with restoring English operatic and choral tradition. The War Requiem synthesizes all of these traits into a profound piece of music.
Britten juxtaposed the traditional mass for the dead alongside the anti-war poetry of Wilfred Owen. Discord and placidity coexist side by side. Notably, the sheer volume of the forces used and their placement (the boys chorus and chamber organ are off stage) are designed to create a three dimensional musical experience not unlike Stockhausen’s Gruppen.
At a time when our own country is fighting two wars, Britten’s music is as relevant now as it was in 1962 when the world was rebuilding from the catastrophe of the war to end all wars.
Shangrow has a knack for tackling difficult works. In December, he drew out a fine performance of Monteverdi’s forward looking 1610 Vespers. Later this year, he takes on Mahler’s Symphony No.4. Shangrow’s Britten was no different.
For almost ninety minutes, Shangrow had the piece unfold naturally. The Northwest Boy’s Choir was angelic. I sat in the balcony where I was close to the crisp singing of the choir. This may have been a mistake, since I did not get to experience how the choir sounds as it was intended. Shangrow’s tempos were patient. He let the music unfold naturally, allowing the secular and sacred to become one. The performance was satisfying from start to finish, culminating in a mesmerizing Libra me.
The orchestra generated an unexpectedly full and somber sound. I shouldn’t be surprised, Shangrow has nurtured his orchestra building it into one of the better community orchestras in Seattle. At times the brass had balance problems, drowning out the chorus, soloists and the orchestra. The effect was powerful albeit distorted.
Even though this weekend’s performances were dominated by music of the Twentieth Century, Seattle depends (heavily) on the talent of visiting conductors and orchestra’s like Orchestra Seattle to expose audiences to fare different from Brahms and Beethoven. Without George Shangrow’s steady vision of musical possibility, works like the War Requiem would never be heard.
When Michael Stern took the microphone to introduce Integrales he gushed over Seattle’s openness to modern music. Peering out in the Benaroya Hall audience he had to see that there were plenty of empty seats. If he had eyes in the back of his head he would have seen what I saw, restless thumbing of program notes during the Varese. With a little bit of forethought and audience conditioning modern music can work in Seattle.
Modern music need not be relegated to fifteen minutes at the start of program. Shangrow’s Britten proved this.
It took 
A little vacation to Seattle afforded me the opportunity to 1) visit my dear friend; 2) check out the Seattle landscape and its associated environs; and 3) hear the always-in-the-news Gerard Schwarz do his thing. To be honest, I was excited to do those things in that order. After having read so many things about the Music Director of the Seattle Symphony Orchestra, most of it not very favorable, one can hardly blame me for not being too excited about hearing him and his orchestra go through the motions one more time. But this was going to be different. After all, one doesn’t get to hear a major orchestra put on such an imposing and austere piece as Johann Sebastian Bach’s Mass in B minor. In today’s world of overflowing, post-romantic orchestra rosters, always with at least 100 members down to hecklephone, it would be insane to have an orchestra put 80% of its staff on vacation as only a baroque orchestra is needed. And yet, that is what Schwarz was able to do for his performance of the Mass on Maundy Thursday.
For almost twenty years 
It was Shangrow’s ability as a pianist that brought him to Olympia last night. To open the concert, Shangrow and Cohen performed Gershwin’s immediately recognizable Rhapsody in Blue. The version Shangrow and Cohen performed was a reduction, for two pianos, of the orchestral version Gershwin and composer Ferde Grofe assembled when Gershwin was a mere twenty six. The reduced Rhapsody was as enjoyable as the orchestral version audiences are familiar with. The two piano version, and Shangrow and Cohen’s performance portrayed the rhythm and buoyancy of the work in a way the richly orchestrated version sometimes does not. 
Gathering Note 