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The hunt is on the way for Gerard Schwarz’s successor as Seattle Symphony music director, and every guest maestro is getting a special scrutiny from orchestra fans and patrons: Will this be “the one”? Does this conductor have what it takes to inspire the orchestra and the audience, as well as the ability to master the long and daunting list of administrative and executive functions that go with the job?
No one who was in attendance at the Nov. 19 performance led by Norwegian guest conductor Arild Remmereit could have been in any doubt about his ability to inspire. The program, which included the probable American premiere of Ludvig Irgens-Jensen’s Partita Sinfonica (“The Drover”) and went on to a Mozart piano concerto and Tchaikovsky’s “Pathétique” Symphony, found the orchestra on its best behavior, and the audience on the edge of their seats.
The opening Irgens-Jensen work is an attractive four-part suite based on a score the composer wrote in the late 1930s to accompany a play. Tuneful and energetic, sharing some of the musical language of Holst, this is a work of considerable picturesque charm, and it was clear that Remmereit is its champion. (He addressed some introductory remarks on its behalf to the audience, noting that no record could be found of any previous American performance of the Partita Sinfonica.)
Pianist Gabriela Montero, who earlier won fans here when she played a recital on the President’s Piano Series, was the soloist in the Mozart Piano Concerto No. 21 in C Major (K.467) – yes, that concerto whose middle movement was popularized by the now mostly-forgotten 1967 Swedish film “Elvira Madigan.” Montero, a well-schooled and very able pianist, is best known for her improvisations, and as the concerto went forward it became evident that we were hearing a sort of “Mozartero” performance with some substantial interpolations by the soloist. The cadenza, in particular, took off from the 18th century into a number of 19th-, 20th- and even 21st-century detours that would not have been much to the taste of most Mozart lovers in the house. Everyone else, however, gave Montero a rapturous ovation that was rewarded by a solo encore: one of Montero’s signature improvisations on a theme presented by an audience member (unfortunately, the theme provided was “On Top of Old Smokey”).
The artistic heart of the evening was the Tchaikovsky, which was given a terrifically vital, committed reading by Remmereit and the Seattle players. The young Norwegian-born conductor, who now lives in Vienna, has been called “the hottest conductor you’ve never heard of” in The New York Times, and in the Tchaikovsky it was eminently clear how hot this cool Nordic maestro could be. Galvanized into action in the explosive Allegro non troppo of the first movement, Remmereit interpreted the music with furious energy in every fiber of his body – even his hyperactive mop of blond hair. He was riveting to watch, and he supercharged the orchestra.
Remmereit didn’t hesitate to push the score to extremes: an opening Adagio so slow that the music almost didn’t hold together, and a third movement that accelerated so spectacularly that the audience gave up the struggle not to applaud between symphonic movements.
Not everything worked well. With a few exceptions (including a lovely trombones/tuba choir near the end of the Tchaikovsky), even the best wind solos and choirs had persistent intonation problems; there were some ensemble problems, too. But on the whole, Remmereit is certainly one of the most impressive of the potential music-director candidates to emerge thus far.
And is he officially a candidate? The Symphony press release is coy, saying that “Arild Remmereit’s appearance places a spotlight on Seattle Symphony’s search for a new Music Director. The international search is ongoing, and guest conductors both this season and next are under consideration. While the candidates for the position will remain confidential, the caliber and quality of guest conductors is sure to draw considerable attention to Seattle Symphony and its upcoming programs.”
Confidential or not, this candidate is certainly going to be a tough act to follow.
Enhancing a Community Treasure
"KING FM continues to be a great supporter of the arts community. Of course, they play great music which supports the audience that cares about classical music. They also reach out into the community and are a presence at cultural events throughout the Pacific Northwest. KING FM supports our cultural institutions in a very personal way and is a constant reminder of the great strength of our music community in Seattle."
Gerard Schwarz, Seattle Symphony, Music Director "The decision for KING FM to move to a listener-supporter format is cause for celebration! This critical step in the station’s evolution proves once again that KING FM has its finger on the pulse of classical music supporters and enthusiasts, locally and globally. Moreover KING’s new mission and strategy will better connect arts organizations and the public through a keen focus on music education and local arts/cultural activities which will contribute greatly to the survival of classical music – an incredible achievement. Drum rolls please for KING FM, its founders, management and staff! Bravissimi!
Lisa Bergman, Executive Director, Icicle Creek Music Center
"Fortunately, King owners have an innovative board, whose members are committed to keeping classical music on the air in Seattle. They really care. I care, and if my sister Patsy were alive today, we’d be together supporting the board’s new plan for restructuring a revenue stream for Classic King. Station operations will be listener-supported. Instead of buying products to validate advertising income for the station, local listeners will have the opportunity to sponsor the broadcasts directly. It makes sense. Listener loyalty is long-lived and local financial commitment will insure that our beloved King will broadcast classical music as long as it serves the community."
Harriet Bullitt
"I’m very excited that KING is making the transition to a listener-supported station. KING has a long history of excellence in producing classical music and arts programming and this transition will ensure that KING continues to be a beacon for classical music into the future. Seattle is one of the strongest public radio markets in the country and I am 100% confident that the KING’s transition will be a tremendous success.."
Brenda Barnes, President, KUSC
"KING FM has been the radio source for classical music in our region for many decades. Seattle Chamber Music Society has enjoyed a very long collaboration with KING FM and its live broadcasts of our Summer and Winter Festival concerts. Thanks to KING FM, thousands of listeners hear our great chamber music programs each night. We look forward to continuing our partnership as KING FM becomes a listener-supported radio station and maintains its commitment to the local classical music scene. We wish KING FM and its listeners many more years of great music on air, and on the internet."
Connie Cooper, Executive Director Seattle Chamber Music Society
