Timbre, Sound, and Subjective Time: Seattle Modern Orchestra Plays Orlando Jacinto Garcia

by Gabriela Tedeschi

Composer Orlando Jacinto Garcia takes it as a compliment when listeners tell him his music is strange. That’s what he’s going for.

“The reaction from someone that says, ‘Your music is very strange, but very beautiful,’ that doesn’t in any way, shape, or form offend me,” Garcia said. “On the contrary, I take that as kind of reaching the goal that I want.”

Garcia is less interested in traditional harmony and melody than he is in exploring the timbre and color of instruments with his music. Drawing influence from minimalist composers and the New York School of composers, including his former mentor Morton Feldman, he also works to change listeners’ perception of time.

“I usually do this by using materials that are somewhat restricted that slowly unfold over time with the hope that the listener will be caught up in the moment and once the work is over, they won’t know whether the work was two minutes long or two hours long,” Garcia said. “It creates kind of a subjective time as opposed to an objective or chronological time.”

This Friday, the Seattle Modern Orchestra presents the world premiere of Garcia’s new piece, the clouds receding into the mountains for viola and ensemble, featuring violist Melia Watras. the clouds receding manages to intermix musical fragments with long, angular melodic and harmonic lines, bringing the fragments together at the end of the piece in a more intuitive way to create the sense of subjective time. But because of this trademark quality, the form of the piece presented challenges for Garcia.

“Any time I write a piece for a soloist and an ensemble there are challenges because right off the bat, when you think of a solo work with an ensemble, you think of a traditional virtuosity,” he said. “My music is not really directed toward that virtuosity so I’m looking at some other aspects of technique and control from the soloists.”

Whenever Garcia writes works that feature a soloist, he has a specific performer in mind, one whose sound color and control of their instrument inspire him. Hearing Watras play during a Seattle Modern Orchestra performance in 2015 led him to begin working on this piece.

“Melia played The Viola in My Life by Morton Feldman, my mentor, and I was very taken by her playing,” Garcia said. “The sound that she has, the control that she has.”

Garcia stayed in touch with Watras after the performance and began discussing a work for a violist and chamber orchestra. Together, they approached the Seattle Modern Orchestra about premiering this piece.

As Garcia began to compose, he studied recordings of Watras playing in order to tailor the work to her specific strengths. Understanding her sound was pivotal for Garcia’s unique approach to the solo line. He wanted to create something beautiful and complex enough to keep the performer engaged, but also stay true to his aesthetic.

“The emphasis is on the beautiful sound and the beautiful tone that she has and her beautiful control over the instrument,” Garcia said.

Also on the program are Beat Furrer’s Aria for soprano and six instruments and György Ligeti’s Melodien for chamber orchestra. Furrer is known for his exploration of the human voice. In Aria, making use of extended techniques, he integrates the percussive soprano line with the instrumentals to create an eerie and suspenseful interlocking pattern of quick, jarring sounds.

Ligeti, pioneer of micropolyphony, utilizes a three-layered texture in Melodien, with a melody, secondary ostinato-like figures, and long, sustained notes in the background. Over time, he allows the layers to blur and interact, creating a beautifully dense, complex sound.

It’s the perfect ending to a program that brings texture and timbre to the forefront of music, exploring new ways to interpret time and layers of sound.


Seattle Modern Orchestra’s upcoming concert, The Clouds Receding, is this Saturday, April 14 at 8pm at the Chapel Performance Space at the Good Shepherd Center. A pre-concert interview with composer Orlando Jacinto Garcia will take place at 7:30pm. For tickets and more information, please click here.

New Music for April: Music of Earth, Moon, and More

by Maggie Molloy

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Second Inversion and the Live Music Project create a monthly calendar featuring contemporary classical, cross-genre, and experimental performances in Seattle, the Eastside, Tacoma, and places in between! 

thvLYmNB

Keep an eye out for our this flyer in concert programs and coffee shops around town. Feel free to download, print, and distribute it yourself! If you’d like to be included on this list, submit your event to the Live Music Project at least 6 weeks prior to the event and tag it with “new music.”

New Music Flyer - April 2018

 

Wayward Music Series
Concerts of contemporary composition, free improvisation, electroacoustic music, and sonic experiments. This month: drone cinema, phonetic etudes, murder ballades, and the muted colors of Morton Feldman.
Various days, 7:30/8pm, Good Shepherd Chapel | $5-$15

Things That Break
New music merges with stop-motion animation, visual art, and theatre in this multidisciplinary concert centered around the theme of “breaking.” Four Seattle-based female artists come together for a unique presentation of world premieres.
Fri, 4/6, 8pm, Good Shepherd Chapel | $5-$15

The Sound Ensemble: You Didn’t Know They Composed
Did you know some of today’s top rock stars and pop stars have tried their hands at classical composition too? The Sound Ensemble presents an evening of chamber music by the likes of Björk, Beck, Bryce Dessner, and more, plus a new commission by James McAlister.
Sat, 4/7, 7pm, Good Shepherd Chapel | $10-$15

The Esoterics: CŌNFIDŌ
The ancient rite of the Christian liturgy, the Mass, is reimagined for modern times in this program of works by Gregory Brown, Giles Swayne, and Kirke Mechem. The Esoterics sing four settings of Mass texts that express crises of faith, criticize organized religion, and prioritize the health of our planet over any individual belief.
Fri, 4/13, 8pm, St. Stephen’s Episcopal Church, Seattle | $15-$22
Sat, 4/14, 8pm, Holy Rosary Catholic Church, West Seattle | $15-$22
Sun, 4/15, 7pm, Christ Episcopal Church, Tacoma | $15-$22

Seattle Modern Orchestra: The Clouds Receding
Immerse yourself in the dense sonic clouds of composers like György Ligeti and Beat Furrer, plus a new world premiere by Orlando Jacinto Garcia featuring violist Melia Watras as the soloist.
Sat, 4/14, 8pm, Good Shepherd Chapel | $10-$25

Sound of Late: 48-Hour Composition Competition
A group of composers each gets 48 hours to compose a new piece for their assigned instrumentation, and a group of performers gets six days to prepare before they perform the works live in concert.
Sat, 4/14, 8pm, Gallery 1412 | FREE

SMCO: Songs and Dances of Peace
The Seattle Metropolitan Chamber Orchestra performs a powerful program exploring Leonard Bernstein’s now-ubiquitous quote, “This shall be our reply to violence: to make music more intensely, more beautifully, more devotedly than ever before.” Featured composers include Bernstein, Barber, Golijov, and Tchaikovsky.
Sat, 4/14, 8pm, First Free Methodist Church | $15-$25
Sun, 4/15, 2pm, Rainier Arts Center | $15-$25

What Better Than Call a Dance?
Experimental chamber troupe Kin of the Moon joins forces with dancer/choreographer Karin Stevens and clarinetist/improvisor Beth Fleenor for a program that wildly reimagines dance music from Renaissance to waltz to tango and even EDM.
Fri, 4/20, 8pm, Good Shepherd Chapel | $5-$15

On Stage with KING FM: Earth Day Celebration
The Ecco Chamber Ensemble celebrates Earth Day with a program of music exploring the vital role of water in both our basic survival as well as our art.
Sat, 4/21, 7:30pm, Resonance at SOMA Towers | $20-$25

Symphony Tacoma: Earth Songs from the Harp
Grammy-nominated electric harpist Deborah Henson-Conant joins Symphony Tacoma for a boundary-bursting program ranging from blues and jazz to flamenco, folk, and beyond.
Sun, 4/22, 2:30pm, Pantages Theater | $19-$82

Seattle Art Song Society: Elemental
In honor of Earth Day, the Seattle Art Song Society performs songs inspired by the elements of fire, earth, water, and air. The program features music by Ruth Crawford Seeger, Aaron Copland, Juliana Hall, Ernst Bacon, Björk, and more, plus brand new works by Steven Luksan and Brian Armbrust.
Sun, 4/22, 3:30pm, Queen Anne Christian Church | $20-$40

Seattle Symphony: Stravinsky Persephone
A stunning cast of star soloists, dancers, and puppeteers (plus three choirs and four grand pianos!) join the symphony for an entire evening of Stravinsky rarities, including his Persephone, Les noces, “Song of the Volga Boatmen,” and Concerto for Piano and Wind Instruments.
Thurs, 4/26, 7:30pm, Benaroya Hall | $42-$79
Sat, 4/28, 8pm, Benaroya Hall | $42-$79

Seattle Symphony: [untitled] 2
Symphony musicians dive into the mind of Stravinsky with a performance of his elegant Octet, a piece which first came to him in a dream. Plus, the Dmitry Pokrovsky Ensemble brings a scintillating blend of folk traditions and extended techniques to two wild works by Russian composers Vladimir Nikolaev and Alexander Raskatov.
Fri, 4/27, 10pm, Benaroya Hall | $16

NOCCO: Lost Sisterhood; Found Landscapes
The North Corner Chamber Orchestra presents a newly commissioned Cello Concerto by Philip Lasser alongside Louise Farrenc’s stunning Symphony No. 3 and Aaron Copland’s unforgettable Appalachian Spring.
Sat, 4/28, 2pm, University Christian Church | $15-$25
Sun, 4/29, 7:30pm, The Royal Room | $15-$25

Staff Picks: Friday Faves

Second Inversion hosts share a favorite selection from their weekly playlist. Tune in on Friday, September 15 to hear these pieces and plenty of other new and unusual music from all corners of the classical genre!

William Brittelle: Hieroglyphics Baby (New Amsterdam)

If you’re looking for some Friday night grooves, William Brittelle’s got the tune for you. “Hieroglyphics Baby” is a colorful art-pop-meets-classical mashup from his full-length, lip-synched (when live) concept album Mohair Time Warp. Tongue-in-cheek lyrics spiral through Technicolor melodies in this art music adventure that splashes through at least six musical genres in the span of three minutes. See if you can keep up. – Maggie Molloy

Tune in to Second Inversion in the 12pm hour today to hear this piece.


Harry Partch: “The Wind” (Second Inversion Live Recording)
Charles Corey, Harmonic Canon II and Melia Watras, bass marimba 

Having the Harry Partch instrument collection in Seattle is a benefit that cannot be overstated.  I’ve attended many of their concerts at this point, and after every single one, I walk away feeling that my ears have been stretched in a pleasant and healthful manner.  I could call the experience “musical yoga” or “aural vegetables,” but no matter how I describe it, it seems clear to me that listening to Partch, in any form, is one of the best things one can do for their listening skills. – Seth Tompkins

Tune in to Second Inversion in the 4pm hour today to hear this piece, and watch our live video below!


Terry Riley: Fandango on the Heaven Ladder
Gloria Cheng, piano 
(Telarc Records) 

Terry Riley says of his Fandango on the Heaven Ladder, “It is no secret that I am wild about the music of Spain and Latin America, and since I heard my first fandango I’ve been wanting to write one. In Fandango on the Heaven Ladder, I am attempting to alternate and somewhat fuse the controlled sensuality of the romantic fandango with a somewhat melancholic chorale.”

The piece weaves in and out of fandango and melancholy, giving the impression of moving from solitude into a dreamlike soirée, only to slip back inward while stepping outside into a glassy night and hearing the sounds of the party flow out through the windows and doors. – Brendan Howe

Tune in to Second Inversion in the 7pm hour today to hear this piece.


Bruce Adolphe: Night Journey (Albany)
Musical Arts Woodwind Quintet

Any composer who sets out to write a really good wind quintet contends with inherent challenges of the instrumentation, chief among them the balance of sound between the high, light sound of the flute and the potentially low and overwhelming sound of the French horn. But they also have a beautiful, diverse palette of colors and textures open to them, and it seems to me that this 1986 work for winds makes use of these with aplomb. It’s a very enjoyable piece that moves in three main sections through bubbly counterpoint and quiet shades of repose.

Though the played-out “train chugging along through the night” concept seems to pop up incessantly in contemporary music for wind ensembles, I’m happy to give Adolphe a pass here since the piece was initially conceived with no specific inspiration in mind. The flickering colors and shifting mosaic of rhythm that characterize the music that opens and closes the piece seem to evoke a darkened nighttime landscape passing outside the window of a train, and thus the composer chose Night Journey for the title.
– Geoffrey Larson

Tune in to Second Inversion in the 9pm hour today to hear this piece.

Greek Myths and Microtonal Instruments: Harry Partch’s Oedipus

by Maggie Molloy

We all know the ancient Greek myth of Oedipus, the cursed king who slept with his mother—but you’ve probably never heard it told on hand-crafted, rainbow-colored microtonal instruments before.

All photos by Maggie Molloy.

That opportunity comes this weekend with a rare staging of Harry Partch’s avant-garde theatrical extravaganza Oedipus: A Music Theater Drama. The performances, which run May 5-7, are presented through the Harry Partch Instrumentarium currently in residence at the University of Washington.

A pioneer of new music, Partch was one of the first 20th century composers to work extensively with microtonal scales, creating dozens of incredible instruments specifically for the performance of his musical texts and corporeal theatre works. The Instrumentarium houses over 50 of his rare instruments, each hand-crafted out of wood and strings, gongs and glass, gizmos and gadgets.

Chuck Corey, Director of the Instrumentarium.

Directed and curated by Chuck Corey, the Harry Partch Instrumentarium puts on a handful of performances each year—but this spring marks the first time Corey and his microtonal music troupe are staging one of Partch’s full-fledged, evening-length theatrical works.

“I have had the opportunity to work with Partch’s instruments for nearly half my life, and am still amazed by some of the sounds he creates in his music,” Corey said. “Partch is best known for his just-intoned tuning system and the instruments he invented, but if he were not also a great composer I don’t think his work would have gained much of a following. For me, it is rewarding to perform his music and solve the problems his instruments present, and I remain impressed by his distinctive musical language.”

Based on Sophocles’ original Greek tragedy, Partch’s Oedipus is not quite a play and not quite an opera: the story unfolds through a combination of speech and song, augmented by the exotic harmonies of Partch’s notorious 43-tone scale.

“The voice can be used in a variety of ways in Partch’s work,” Corey said. “He often calls for intoning voice (words spoken on precise pitches), and in the case of Oedipus, we will cover the full range between speaking and singing. There are many passages in Oedipus where each character is at a different point on this spectrum.”

Oedipus floats freely in and out of Partch’s microtonal musical world, shifting between spoken monologues and hypnotizing musical settings, dramatic movement and dance. Partch’s orchestra of oddities is percussive, haunting, and hypnotic—almost ritualistic in its depth and drama.

In fact, Partch designed his instruments to be corporeal; he sought to involve the whole body and the entire person in the art. The result, for audience and performer alike, is a deeply immersive experience that brings together music, sculpture, dance, and drama in a fascinating culmination of Partch’s iconoclastic ethos.

To learn more about the magical and mysterious musical inventions of Harry Partch, take our photo tour below:

Diamond Marimba - Photo by Maggie MolloyDiamond Marimba:
This instrument is a physical manifestation of one of Partch’s most crucial theoretical concepts: the “tonality diamond.” Built in 1946, the instrument contains all twelve of Partch’s primary tonalities, each laid out in a series of thirds. It’s used as a prominent percussion instrument in many of his works.


Gourd Tree - Photo by Maggie MolloyGourd Tree: Built in 1964, the Gourd Tree is comprised of twelve temple bells attached to gourd resonators, each of which hangs suspended from a eucalyptus branch. Yes, a eucalyptus branch. The instrument is often played in conjunction with Partch’s Cone Gongs, which are made out of nose cones from airplane fuel tanks.


Cloud-Chamber Bowls - Photo by Maggie MolloyCloud-Chamber Bowls: Partch’s most iconic instrument, the Cloud-Chamber Bowls are made up of large glass gongs of varying sizes suspended in a wooden frame and played with mallets. Partch initially created the instrument in 1950 using Pyrex carboys discarded by the Radiation Laboratory at the University of California, Berkeley.


Chromelodeon - Photo by Maggie MolloyChromelodeon: The colorful Chromelodeon, built in 1945, is an adapted reed organ modified to conform to Partch’s tonality system. The instrument plays a 43-tone per octave scale, as opposed to a typical Western keyboard, which plays 12 tones per octave. In addition to a standard keyboard and a collection of stops, the Chromelodeon also includes an additional keyboard of Partch’s own creation called the “sub-bass,” located in the upper left corner of the instrument. Both keyboards have colored and numbered labels representing ratios of the tuning system. Oh, and also: the player has to furiously pump two foot pedals throughout the entire performance in order fill the organ’s bellows and create sound.


Kithara II - by Maggie MolloyKithara II: Towering at nearly seven feet tall, the Kithara II requires the performer to stand on a riser in order to play it. Built in 1954, the instrument has twelve sets of six strings which correspond to Partch’s primary tonalities; four of these sets employ Pyrex rods as movable bridges. The Kithara II is also Chuck’s personal favorite instrument in the collection.


Surrogate Kithara - Photo by Maggie MolloySurrogate Kithara: As the name suggests, the Surrogate Kithara was originally invented as a substitute for Partch’s original Kithara, and was created when he began writing music for the instrument that was too difficult for one person to play. The Surrogate Kithara features two sets of eight strings, each with a Pyrex rod that serves as a movable bridge.


Bamboo Marimba II - Photo by Maggie MolloyBamboo Marimba II (Boo II): Affectionately dubbed “Boo II,” the Bamboo Marimba II (built in 1971) consists of 64 tubes of mottled Japanese bamboo organized into six ranks. Each tube is open on both ends, and tongues are cut into the bamboo at approximately 1/6 of the length of the tube in order to produce a harmonic at 6/5 of the fundamental pitch.


Bass Marimba - Photo by Maggie MolloyBass Marimba: Built in 1950, the Bass Marimba features 11 bars made of Sitka spruce. Just to give you an idea of the massive size of this instrument, the top of the bars are five feet above the floor, and the player must stand on a riser six feet wide and over two feet tall in order to play it.  Each bar is situated over an organ pipe which serves as a resonator, and the lowest bar corresponds to a C2 on piano which, for those of you who don’t play piano, is pretty darn low. The instrument can be played with mallets or by slapping the bars with the pads of your fingers.


The Spoils of War - Photo by Maggie MolloyThe Spoils of War: Created in 1950, this instrument takes its name from the seven artillery casings that hang from the top of the instrument. The instrument also includes four Cloud-Chamber Bowls, two pieces of tongued bamboo, one woodblock, three steel “whang guns,” and a guiro. Just think of it as a Harry Partch drum-set of sorts.


New Harmonic Canon I - Photo by Maggie MolloyNew Harmonic Canon I: Built in 1945, the New Harmonic Canon I is a 44-stringed instrument with a complex systems of bridges. It was built specifically to accommodate a second tuning, allowing the performer to play in either one or both of the different tunings simultaneously. The strings are tuned differently depending on the piece, and are played with fingers, picks, or in some cases, mallets.


Harmonic Canon II - Photo by Maggie MolloyHarmonic Canon II: Nicknamed the “Castor and Pollux,” the Harmonic Canon II (built in 1953) features two resonating boxes with 44 strings across the top. Bridges are placed beneath the strings specifically for the tuning of each composition. Like all of Patch’s Harmonic Canons, the instrument may be played with fingers, picks, or mallets.


Adapted Guitar II - Photo by Maggie MolloyAdapted Guitar II: The ten-string Adapted Guitar II is a steel-string guitar which is played with a slide. Partch first began experimenting with adapted guitars in the 1930s, and by 1945 he began using amplification for them. The ten strings of the Adapted Guitar II are typically tuned either to Partch’s “otonality” or “utonality” (terms Partch used to describe chords whose pitch classes are the harmonics or subharmonics of a given fixed tone). Thankfully, the headstock is specially designed to allow the player to change the tuning within seconds.


Performances of Oedipus: A Music Theater Drama are Friday, May 5 and Saturday, May 6 at 7:30pm and Sunday, May 7 at 2pm at the University of Washington’s Meany Theater. For tickets and additional information, please click here.

ALBUM REVIEW: 26 by Melia Watras

by Geoffrey Larson

Photo by Michelle Smith-Lewis

If you’ve ever witnessed a live solo or chamber music performance by Melia Watras, you are familiar with the sense of immediacy that her playing involves. It’s this immediacy of beautiful tone and hard-charging energy that seizes the listener in her live performances. I was hoping that her new album on Sono Luminus, titled 26 after the total number of strings on instruments played in the recording, would yield the same ear-grabbing experience. On the whole, it does not disappoint.

The album’s selections are all world-premiere recordings of new works of music, the majority of which are Watras’ compositions. The program of music here is smart for a couple reasons. First, let’s be honest: an album of contemporary viola solos and duets may not be everyone’s cup of tea, even fellow musicians. But for those in search of interesting discoveries of great new music and those eager to discover the far reaches of a viola’s solistic capabilities, this album presents a vibrant range of music that refreshingly eschews mainstream-appeal fluffiness. Watras’ personal connection to the composers and performers also strengthens the performances immeasurably: her former teacher Atar Arad performs his and Watras’ compositions, and she is also joined by her husband, violinist Michael Jinsoo Lim and longtime collaborator Garth Knox on viola d’amore. For these reasons, it definitely deserves a listen.

Watras’ compositions on 26 present a style with foundations in improvisation, rounded out with high amounts of technical difficulty. Liquid Voices, with its shimmering harmonics, crunching dissonances and angular, Stravinsky-like melodies, was inspired by a Virginia Woolf short story. Prelude and Luminous Points are both intensely personal portrait-like works, the first inspired by Bach and Watras’ relationship with her former teacher and the second by Lim’s evocative high playing. Photo by Mikel is possibly the album’s most energetic work and sounds especially improv-driven, evoking all sorts of different characters from the instrument. The Sonata for Viola Solo seems like a real repertoire piece, just jam-packed with musical content that utilizes a huge range on the instrument and some interesting techniques. Though the speed at which ideas move by is occasionally jarring, this is great musical storytelling, and I am left feeling like I’ve been along with Watras on a real journey of some sort. Its message is slightly uplifting, with the theme of a “timeless positive force” from the second movement returning at the very end in offstage playing.

Bicinium, a composition by Watras’ UW colleague Richard Karpen, presents two long, winding lines that succeed in creating a lush, enjoyable texture from only two instruments. Lim’s violin and Watras’ viola are tightly wound together, never resting in this marathon 20-minute composition until the viola gets the last word at the end. The piece’s general idea is varied in expressive ways, evoking shifting pastel colors, but this work is straightforward overall, producing no sounds that seem particularly new or different.

The two works by Arad and the one by Garth Knox are more instantly accessible than the other pieces on this release, for better or for worse. In the album-opening Toccatina a la Turk, I could feel a bit of Brubeck even before I heard the direct Blue Rondo reference. The short, fiery variation at the end left me wishing that this brief composition was longer, and took that theme further into Turkish territory. Esther contains some of the most lyrical writing on the whole album, and is a wonderful showcase for the richness of Watras’ and Arad’s viola sounds. Knox’s Stranger is possibly the album’s most tonal work, but not one of simplicity, cycling through some arresting sonic elements that are easy to love and stay with the listener.

The crystal-clear Sono Luminus sound only serves to strengthen the impact of 26. This is an album that does more than just show off virtuosity: it showcases Melia Watras’ bravery as a performer and composer, and clearly translates the power of close personal relationships in great chamber music performances. The only thing better would be seeing these musicians perform this program live in person.

[editor’s note: you CAN see selections from this performed live! Melia’s 26 album release show will be on Friday, February 24 in Brechemin Auditorium (University of Washington School of Music) at 7:30pm. The program includes selections from 26, a video presentation, and commentary from the artist.]

New Composed Music: February 2017 Seattle * Eastside * Tacoma

SI_button2Second Inversion and the Live Music Project create a monthly calendar featuring contemporary classical, cross-genre, and experimental performances in Seattle, the Eastside, Tacoma, and places in between! 

thvLYmNB

Keep an eye out for our this flyer in concert programs and coffee shops around town. Feel free to download, print, and distribute it yourself! If you’d like to be included on this list, submit your event to the Live Music Project at least 6 weeks prior to the event and be sure to tag it with “new music.”


 

Racer Sessions
A weekly showcase of original music with a jam session based on the concepts in the opening presentation.
Every Sunday, 8-10pm, Cafe Racer | FREE

Wayward Music Series
Concerts of contemporary composition, free improvisation, electronic/electroacoustic music, & more.
Various days, 7:30/8pm, Good Shepherd Chapel | $5-$15
waywardmusic.org (check website for complete listings)

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Ancora presents Wild! With Skyros Quartet
Aimee Mell leads a program of works by Randall Thompson, Ola Gjeilo, Sarah Quartel, Joan Szymko, Dan Forrest, and Jackson Berkey.
Sat, 2/4, 7:30pm, Trinity Lutheran Church | $11-$16

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Seattle Music Exchange
Pianist Angelo Rondello will perform works by Seattle composers Samuel Jones, Peter V. Stevens, Angelique Poteat, Adam Haws, & Benjamin Salman.
Sat, 2/4, 8pm, Nordstrom Recital Hall | $20-$42

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Seattle Rock Orchestra performs The Police
SRO shakes out hits like ‘Roxanne,’ ‘Message In A Bottle,’ ‘Don’t Stand So Close To Me,’ and ‘Every Breath You Take.’
Sat, 2/4, 8pm, Kirkland Performance Center | $40

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Solaris Vocal Ensemble with Seattle Modern Orchestra
SMO collaborates with UW’s Solaris Vocal Ensemble in a unique performance of Julia Wolfe’s Thirst and works by Dempster and Erickson.
Fri, 2/10, 7:30pm, Meany Studio Theater | $10-$20

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Andrew Joslyn & the Passenger String Quartet
Violinist, composer, and arranger Andrew Joslyn presents an afternoon of music with The Passenger String Quartet.
Sun, 2/12, 4pm, Bainbridge Waterfront Community Center | $5-$20

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Adagio: The Music of Arvo Pärt
An evening of music from Estonian composer Arvo Pärt where the spirit of early music meets ultra-spare modern minimalism in a meditative, intimate setting.
Sun, 2/12, 7pm, On the Boards | $20

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Cornish Presents: Jesse Myers
Pianist Jesse Myers brings John Cage’s prepared piano music to the stage on which the instrument was born.
Fri, 2/17, 8pm, PONCHO Concert Hall | $10-$20

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Inverted Space: Composers Concert
Inverted Space presents a concert of new works featuring the music of Adrian Swan, Charles Corey, Anna Stachurska, & Jacob Sundstrom.
Fri, 2/17, 8pm, Good Shepherd Chapel | $5-$15

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Lake Union Civic Orchestra: Temptation
Baritone Charles Robert Stephens performs music by Seattle composer and pianist Jeffrey Moidel. Works by Milhaud and Shostakovich round out the program.
Sat, 2/18, 7:30pm, Center for Spiritual Living | $15-$20

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Wayward Music Series: Melanie Voytovich
Percussionist Melanie Voytovich and friends bring you a night of new work featuring Storm Benjamin, Scott Langdon, Maggie Brown, Brad Hawkins, and Ella Maher (dance).
Sat, 2/18, 7:30pm, Good Shepherd Chapel | $5-$15

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NOCCO: Resonance: Celebrating Black American Composers
Hear a newly commissioned work by Hanna Benn & performance artist Davida Ingram and works by Scott Joplin & George Walker.
Sat, 2/18, 2pm, New Holly Gathering Hall | $15-$30 (under 18 FREE)
Sun, 2/19, 7:30pm, Langston Hughes Performing Arts Institute | $15-$30 (under 18 FREE)

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Melia Watras: 26 Album Release
UW faculty violist Melia Watras performs selections from 26, her newly released CD on Sono Luminus, with a video presentation and commentary.
Fri, 2/24, 7:30pm, Brechemin Auditorium | FREE

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Seattle Pro Musica: Chichester Psalms
Bernstein’s Chichester Psalms is paired with James MacMillan’s Cantos sagrados, both exploring the desire of humankind to seek social justice and peace.
Sat, 2/25, 8pm, St. James Cathedral | $12-$38

VIDEO PREMIERE: Liquid Voices by Melia Watras presented with Sono Luminus

melia26_

photo: Michelle Lewis-Smith

Melia Watras: Violist, Chamber Musician, Composer, Professor of Viola, Sono Luminus Recording Artist, Chair of Strings at the University of Washington. And to top it all off? One of the nicest people you could possibly meet.

Second Inversion has had the opportunity to review her album Ispirare, film a video with her and Michael Jinsoo Lim in our studios, host the two of them on The Takeover, and now we’re thrilled to premiere the video for Liquid Voices, a piece from her upcoming album 26 to be released on Sono Luminus on January 27, 2017.

Melia Watras wrote Liquid Voices in 2013, inspired by Virginia Woolf’s short story, The Fascination of the Pool. Watras was taken with the story’s fluidity, imagery and depth, which helped shape the structure and basic concept for the piece: voices floating on top of each other. Liquid Voices was recorded by Michael Jinsoo Lim, violin and Melia Watras, viola and this video was created by Ha Na Lee.


If you’re in the Seattle area, take note that Melia’s 26 album release show will be on Friday, February 24 in Brechemin Auditorium (University of Washington School of Music) at 7:30pm. The program includes selections from 26, a video presentation, and commentary from the artist.

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