By Peter A. Klein
Elisa Barston, the Seattle Symphony’s principal second violinist, was the featured soloist in three all-Mozart concerts this past weekend. With everything else going on in town, Benaroya Hall was not full, but still comfortably well-populated on Saturday evening. Those in attendance were treated to some fine playing, with Music Director Gerard Schwarz’ many years as a Mozart conductor informing the proceedings.
Continue reading Elisa Barston shines in Mozart “Turkish” Concerto
With the first official weekend of Icebreaker V over, no one can accuse the Seattle Chamber Players of being timid or short on vision. SCP’s Icebreaker festivals have become important staples for Seattle’s new music scene. Each festival has gone beyond the one before. Two years ago, the emphasis was on American music and SCP brought in music gurus Kyle Gann and Alex Ross to curate a festival of their favorite American composers. There were the premieres and commissions SCP is known for, but the festival was largely a contained event, neatly filling three days with musical activities.
Continue reading Icebreaker V surveys the contemporary music of Western Europe
By Gigi Yellen
David White is a great performer! At the keyboard, he is a crisp, athletic artist, defining an energetic musical rapport among his fellow players that, in turn, keeps an audience on the edge of its seat.
But he’s more than that: he’s a gifted and entertaining speaker, whose pre-concert energy added great value to the experience of the small crowd of cognoscenti gathered at Town Hall for this Sunday afternoon concert of Haydn and Mendelssohn chamber music. Onyx continues its 2009-10 season commemorating the dual bicentennials of Joseph Haydn (died in 1809) and Felix Mendelssohn (born in 1809). The newly-reconstituted Onyx is White, violinist James Garlick, and cellist Meg Brennand.
Continue reading Review: Onyx Chamber Players at Town Hall Seattle
By Harlan Glotzer
Entering the Chapel at the Good Shepherd Center this evening, I was struck with the calm and focus of a dedicated artistic space. This was largely due to the beautiful ambiance of the stage and sonic arena created by the Fisher Ensemble for the world premiere of the piece At the Hawk’s Well even before it officially began. I was greeted by a stage, though stark, not lacking in visual interest. Two paper masks created by Louise McCagg sat atop three blocks arranged in a stair pattern, which was in turn flanked by two white screens lit from behind. Simple blacks and whites, but I couldn’t help but follow my eyes around the set three or four times before I felt satisfied that I had truly seen the initial image. The strong but soothing angles were accompanied by prerecorded recitation. I could not quite make out what I was hearing, but the male voice on the PA was smooth and low. I could pick out a word or two here and there, but it seemed less important what was being said and more the flavor of how the sounds filled the architecture of the stage. All this before the music even started! I knew I was in for a treat.
You can watch/read the live blog of Mikhail Shmidt and Agata Zubel’s performance of Kurtag’s “Kafka Fragments” here (after the jump) starting at 7:30 pm PST.
By R.M. Campbell
Joni Mitchell, who made her name in the late 1960s and 1970’s as a folk singer, has spent most of her career in the United States. However, she was born in Canada and is still recognized as a Canadian artist. A few years ago Jean Grand-Maitre, artistic director of Alberta Ballet, approached Mitchell with the idea of setting a ballet on some of her songs. After some negotiations between the two, songs from the 1980’s were selected by Mitchell, most of which, she writes in the program “were poorly received in the 1980’s.” To that collection, she added a trio of songs, two of which have texts not by Mitchell — Rudyard Kipling and William Butler Yeats. In addition, the decor is a series of primarily abstract images created by Mitchell that are replicated on a disc suspended over the stage.
Tuesday night’s performance at the Paramount was the production’s American premiere.
Continue reading Fiddle and Drum Is Given its American premiere at the Paramount
Here is my second interview with Mikhail Shmidt. In this video Shmidt talks about Hungarian composer Gyorgy Kurtag’s “Kafka Fragments,” a piece he will perform this Saturday as part of Icebreaker V. “Kafka Fragments” is no ordinary piece; it is one of Kurtag’s most important works and one of his most difficult. People describe it as part song cycle and part autobiography. Based on my own survey of the piece and Shmidt’s assessment, “Fragments” is daunting for musicians and listeners. Saturday’s performance may end up as one of the best concerts so far this year.
Mikhail Shmidt discusses Kafka Fragments from gatheringnote on Vimeo.
Following on TGN’s successful live blog of “Drums Along the Pacific,” I will be live blogging “Kafka Fragments.” “Fragments” is well suited for live blogging. Songs tend to be short, many lasting less than a minute. Perfect for snap judgments and short bursts of commentary.
If you can’t attend the performance of “Kafka Fragments,” do the next best thing and check out the live blog on the Live Blogs page. Closer to the event, I will set up a dedicated post where you can follow the live blog.
Information for the concert can be found at http://www.ontheboards.org
By R.M. Campbell
Joshua Bell discovered some years ago that being a very good violinist was not sufficient to earn fame. So, he turned his attractive personality and boyish looks into a populist appeal. He appeared on television in all sorts of roles, did soundtracks, to name a few. The music world had already noticed his playing, now a wider audience discovered him. One might think he had cheapened himself somewhat in the process, but he didn’t. He continued to play with an immaculate tone, clean technique and appreciation for the music at hand, regardless of its origins.
Continue reading Joshua Bell and Jeremy Denk at Benaroya Hall
Starting Friday, the Seattle Chamber Players embark on their fifth Icebreaker festival – “Love and War.” While other Icebreakers have focused on American, Russian, and Baltic contemporary music, the latest festival centers on Western Europe. Mikhail Shmidt, one of SCP’s founding members spoke with me about the festival. You can watch and hear Shmidt’s thoughts below.
Mikhail Shmidt discusses SCP’s Icebreaker V from gatheringnote on Vimeo.
Continue reading Mikhail Shmidt discusses Icebreaker V: Love and War
By Philippa Kiraly
Watching Seattle Gilbert & Sullivan Society’s 2nd Stage production of Offenbach’s “La Perichole,” it seems blatantly impossible it could have stemmed from a true story, as it is silly to the point of unbelievability. But Offenbach no doubt twisted the truth for his own ends, and the music is entrancing. However, this production is not really up to most of Seattle G & S’s polished summer productions.
Continue reading Offenbach’s “La Perichole” is, amazingly, based on truth
Gathering Note 