Denk had yet to release his latest album, c.1300-c.2000, when he performed at Meany Centre. So he chose to focus mainly on Beethoven. The program did include John Adams’ I Still Play, which he wrote for retired Nonesuch Records president Bob Hurwitz.
Carolyn Shaw, Piano Concerto, Seattle Symphony, Benaroya Hall, Feb. 2
I think Shaw lost me in the second movement of her piano concerto, when the opening melody in the piano repeated. And repeated. And repeated. The first movement established this piece wasn’t minimalist, so why become one in the second movement?
When I first started exploring classical music, I bought a cassette tape with Sergei Prokofiev’s Classical Symphony and Lieutenant Kije Suite. His Symphony No. 7 was tacked onto the album to fill out space, so I listened to it quite a lot. I haven’t explored other Prokofiev symphonies, but I have a fondness for the seventh.
I had planned to attend the Seattle Symphony’s performance of Heiner Goebbels’ Surrogate Cities, but it was scheduled on the day I was flying back from London. The concert was rescheduled a day earlier, and I traded my ticket for Amaedus Live. I was glad to learn it was the theatrical cut.
Emerson String Quartet, Meany Hall, March 6
The program on this concert included the Barber Adagio, a Razumovsky quartet by Beethoven and the Britten’s String Quartet No. 3. I particularly looked forward to the Britten quartet, having stumbled across recordings of his quartets at the thrift shop.
Morsel Trio, Good Shepherd Center, March 8
My violin teacher (Luke Fitzpatrick) and my music theory T.A. (Daniel Webbon) had pieces on this program.
Michael Tilson-Thomas, San Francisco Symphony, Benaroya Hall, March 19
I’ve known about Michael Tilson-Thomas for years, and I even have a number of his recordings as a pianist. So I wanted to hear him with the San Francisco Symphony before he ends his tenure in July 2020. The centerpiece of the concert was Beethoven’s Eroica Symphony. I love the first movement of the piece, but I’ve never really internalized the remained of it.
untitled 2, Seattle Symphony, Benaroya Hall, March 22
Pierre Boulez never struck me as a person you’d really want to meet in real life, and that impression has spilled over into his music. So I don’t think I really heard a piece by Boulez until this concert. It wasn’t as grating as I was expecting it to be.
Perfume, Paramount Theatre, Apr. 10
I’m sure there were parts of this concert that were … prefabricated, but I didn’t mind. It was visually stunning, and Perfume were entirely gracious to Seattle fans. If I hadn’t gotten out of the hospital a few days before, I probably would have stood in the excessively long line at the merchandise table.
When the orchestra finished playing the premiere of George Walker’s Sinfonia No. 5, one audience member didn’t even wait for conductor Thomas Dausgaard to signal for the applause. It was a pretty monstrous piece.
Alexander String Quartet and Joyce Yang, Meany Hall, May 22
Samuel Carl Adams has followed his father’s footsteps into the world of composition. His father is John Adams. Alexander String Quartet and Joyce Yang performed a piece by the younger Adams, and he sounds nothing like his father. In fact, I would like to hear more from Sam Adams.
untitled 3, Seattle Symphony, Benaroya Hall, June 7
A reimagning of Schubert and Schumann. ¯\_(ツ)_/¯
In the Spotlight: Bolcom, Jolley, Poteat & Hausmann, Octave 9, June 11
Seattle Symphony transformed its education space into a high-tech venue to showcase more experimental programming. I’m looking forward to attending concerts in this new space.
Torche, Highline, Sept. 15
Sturgill Simpson made me realize I was getting too old for rock shows, so I almost decided against seeing Torche, despite loving the new album. Then I saw they were playing at a venue that is a 6-minute walk from my apartment. I’m glad I went.
Bugs Bunny on Broadway, Seattle Symphony, Benaroya Hall, Oct. 5
I wasn’t going to miss hearing What’s Opera, Doc? performed live. Even the 3-d animated new shorts weren’t too bad.
This first untitled concert of the 2019-2020 season showcased works for brass, and alternated between early and modern music. At the end of the concert, I was asked what I thought. I answered, “It was more conservative than I prefer.”
John Williams, Violin Concerto, St. Louis Symphony, Powell Hall, Nov. 3
I debated whether to take in a St. Louis Symphony concert while I was attending WordCamp US. A Sunday matinee seemed like a good option for someone navigating an unfamiliar city without a car. The light rail and bus system got me to the concert hall, which has a really nice sound. James Ehnes was the soloist for the Williams concerto, and yes, it’s unmistakably John Williams. For an encore, Ehnes did Ysaÿe’s Sonata No. 3.
Sleater-Kinney, Paramount Theatre, Nov. 23
I chose to sit in the mezzanine for this show because, yes, Sturgill Simpson.
Shiina Ringo, Newton no Ringo ~Hajimete no Best Han~
Oh, it’s just a compilation with a bunch of bonus tracks. Surely, it just rehashes what we’ve heard over the last 20 years? Not so fast. A number of early tracks have been remixed in a way that actually brings new character to what Shiina calls her youthful works. As for the new songs? Well, if you’re not a fan of the most recent albums, these tracks aren’t going to dissuade you.
Michael Kiwanuka, KIWANUKA
I picked up Michael Kiwanuka’s debut album from the thrift store and was immediately impressed. I sought out his second album and didn’t warm up to it as much. That planted some hesitancy on picking up this latest album, which turned out to be unfounded. This album takes Kiwanuka in a new direction.
LCD Soundsystem, Sound of Silver
I really dig the “Drunk Girls” video, but I can’t say I remember much about This Is Happening. The band’s debut, Sound of Silver, is often touted as their best work, so I gave it a chance when I spotted it in the thrift shop. Conventional wisdom turns out to be correct.
Leila Josefowicz, Solos
I picked this album up because of the Ysaÿe Sonata No. 3 for solo violin. It’s a monstrous piece.
Yvonne Elliman, Rising Sun
Yvonne Elliman will be known as a disco singer, but after her run as Mary Magdalene in the original cast of Jesus Christ Superstar, she tried her hand at a more conventional folk-rock sound. As with Love Me, Rising Sun demonstrates how underrated Elliman is.
Peter Moon Band, Cane Fire!
Back in college, I tried to explore Hawaiian music, but my rockist bias against the genre would be difficult to overcome. Still, I picked up Cane Fire! on the recommendation of people more versed in the genre than I was, and … I was still too much of a snob to give it fair shake. Three decades have tempered that snobbery, and it turns out Cane Fire! really stands out.
Like Patti Smith’s Horses, Sound & Fury confounded me. I put the album on repeat, and each listen only heightened my confusion and fascination. Was this My Bloody Valentine reborn as a southern rock band? Was it ZZ Top making the electroclash album it should never, ever record? In the end, it’s just Sturgill Simpson applying his work ethic to fucking with our minds.
Cocco, Star Shank
I don’t think I’ve heard Cocco scream with the kind of abandon she does on this album. It’s almost uncharacteristic now that she’s let a lot more sunshine into her music.
I didn’t realize how much I missed BBMAK till they announced their reunion, and this album does not disappoint.
The Replacements, Dead Man’s Pop
Don’t Tell a Soul was the first Replacements album I ever bought, so I find the over-produced, slick sound comforting. That said, I really dig this original mix by Matt Wallace. Thing is, it would have totally tanked in 1989. Maybe in 1993, it would have made more sense. But not in 1989.
Kim Gordon, No Home Record
Do we really need to pay attention to any other former member of Sonic Youth?
Ali Wong, Baby Cobra
I signed up for Netflix to watch the Sound & Fury anime. I might keep my subscription to watch Baby Cobra.
Kraftwerk, Trans-Europe Express
Kraftwerk strikes me as a band I ought to like, but so far, this album is the only one to connect.
Prince, Dirty Mind
I didn’t think I would like anything Prince recorded before 1999. I think I rather like this more than 1999.