On January 26 and 28, the Seattle Symphony will give the world premiere of So Far So Good, a new work by composer Nico Muhly. The 30-year-old, New York-based composer made headlines this summer with the premiere of his first opera, Two Boys, commissioned by The Metropolitan Opera, and has been hailed by critics as “the hottest composer on the planet.” While Nico was in Iceland finishing up a new cello concerto in early December, we caught up with him over the phone to get a preview of So Far So Good.

Q: HOW DID YOU COME UP WITH THE TITLE SO FAR SO GOOD?

A: For me, the best thing with a title is to hint at something without actually hitting it too hard. This is a piece in constant transformation: it starts in a certain way and ends in a way that seems similar, but is radically transformed. I felt that this was a good title to imply the difficulty of progress.

Q: GIVE US A SNEAK PEEK: WHAT SHOULD OUR AUDIENCES LISTEN FOR WHEN THEY HEAR THIS MUSIC FOR THE FIRST TIME?

A: There is a kind of obsessive nature to the piece.… It feels a bit like running back into your house to make sure you turned off the stove, even though you’re sure that you did. There’s a bunch of music that sounds kind of mechanical, and it’s contrasted with music that’s very loose. Sometimes it sounds like there’s an almost improvised sense of rhythm and you’re almost floating, and other times it’s incredibly precise and rhythmic, which for me is a fun counterbalance.

Q: DO YOU HAVE A FAVORITE PART IN THE PIECE?

A: Ideally every part should be the favorite part! I’m partial to a very complicated harp part in it.… I feel like harpists end up sad a lot of the time in contemporary music. I’m also very interested in music that is based on drones — where there is one note that is held constantly, against which other things unfold. There’s a part near the end of the piece that has a very obsessive drone about which I’m enormously excited. I can’t wait to hear it.

Q: WHAT IS YOUR PROCESS WHEN YOU’RE BEGINNING TO WRITE A NEW WORK?

A: For me, you make a sketch on the smallest piece of paper you can — like an index card — and decide what is the most big-picture, zoomed-out version of this piece. You basically give the piece a one-sentence reason to exist. If someone says “write me 15 minutes of music,” you have to give them a reason why those 15 minutes of music are preferable to sitting in silence. From there, you can start making larger and more detailed sketches; but for me, the notes and rhythms come last, and in the beginning, it’s always more abstract thinking about what the piece is going to do.

Q: WE HAVE A NEW TAGLINE AT THE SEATTLE SYMPHONY: LISTEN BOLDLY. WHAT DOES THAT MEAN TO YOU?

A: I think one of the great things about classical music is that some people listen very intensely. They basically backseat-drive their listening experience. On the other hand, there are people who, at the end of the work day, prefer to sit and be driven around by the music. “Listen Boldly” implies to me that you are actively driving yourself around, not just being a passenger on the trip.

So Far So Good was jointly commissioned by the Kitchener-Waterloo Symphony Orchestra (lead commissioner), the Seattle Symphony and the Winnipeg Symphony Orchestra.

It’s a big, bold day for the Seattle Symphony. After our free community concert at Seattle City Hall at 12:30, we announce the 2012-2013 season lineup. Unable to make it? We’ve got you covered. Check out the new season here, call our ticket office at 206.215.4747 or drop by Benaroya Hall and pick up a brochure. Need another reason to subscribe? How about winning a cruise?

Subscribe to the 2012–2013 Seattle Symphony season by March 3, 2012, and be entered to win a roundtrip cruise for two courtesy Holland America Line Alaska CruiseTours: The Complete Alaska Experience.

Celebrating 65 years of showing visitors the very best of Alaska, Holland America Line is uniquely qualified to show you both the Great Land’s “must see” and “seldom seen” highlights. From the scenic splendor of the Inside Passage, to the rich history and culture that lives on in historic towns like Dawson City and Skagway, to the singular beauty of legendary Denali, home to North America’s highest mountain, 20,320-foot Mt. McKinley.

Choose one, two or three nights to savor the spectacular beauty and explore the unique wildlife habitat of Denali National Park, maximizing your time by heading directly to the park from your cruise ship. Savor the wild mountain beauty in comfort and style aboard our McKinley Explorer® with its comfortable, oversized, domed railcars, and enjoy a night in Anchorage, known for its museums, galleries and welcoming nightlife.

Cruise first or tour first – the choice is yours. The most comprehensive and spectacular Alaska and the Yukon experience awaits. For rules and regulations on this contest, click here.

Contest Rules & Regulations

Subscribe to the 2012 – 2013 Seattle Symphony Season by March 3, 2012, and be entered to win a roundtrip cruise for two courtesy Holland America Line Alaska CruiseTours.

Enter to win a 12-day Seattle Double Denali Express (U2 Cruise tour) thanks to Holland America Line.  The winner will enjoy one round trip Seattle CruiseTour that includes 7-day Glacier Discovery Cruise aboard ms Statendam or ms Zaandam, 2 nights in Denali National Park, 1 night in Anchorage, flight from Anchorage to Seattle, with an overnight in Seattle.

HOW TO ENTER

If you become a 2012-2013 subscriber or renew an existing subscription for the 2012-2013 season, by March 3, 2012 you will automatically be entered to win a 12-day Seattle Double Denali Express (U2 Cruise tour), compliments of Holland America Line.

Recently renewed your 2012 – 2013 subscription? If you have renewed your 2012 – 2013 Seattle Symphony subscription between January 11, 2012 and January 24, 2012 just send in your name, address, phone number and subscriber number to christine.wood@seattlesymphony.org to be entered to win.

NO PURCHASE IS NECESSARY TO ENTER.  See Official Rules below for all terms and conditions.

THE PRIZE PACKAGE

Once entered, the winner will be randomly selected on March 7, 2012, and announced on March 12, 2012. The winner will be notified via phone by Seattle Symphony. If selected, you will win a package from Holland America Line including:

Round trip Seattle CruiseTour that includes 7-day Glacier Discovery Cruise aboard ms Statendam or ms Zaandam, 2 nights in Denali National Park, 1 night in Anchorage, flight from Anchorage to Seattle, with an overnight in Seattle.

See Official Rules as well as General Rules below for all terms and conditions.  Approximate retail value of package is estimated between $2,600 and $5,000 (USD).  Odds of winning depend on the number of entries received.

OFFICIAL RULES:

1. Sponsor of Prize. Holland America Line
2. Entry. One entry per person. One entry per household (regardless of whether one person has more than one Address or more than one person use the same Address).
3. Entry Dates. Entries will be accepted from January 25, 2012 to March 3, 2012.
4. Methods of Entry:There are three methods of entry:
   1. Persons who become a 2012-2013 subscriber or renew an existing subscription to the 2012-2013 season with the Seattle Symphony, during the period from January 25, 2012 to March 3, 2012, will be eligible for the prize if they meet all the eligibility requirements herein, and are automatically entered into the draw, unless notified to the contrary.
   2. Persons who have previously renewed his or her 2012 – 2013 subscription with the Seattle Symphony between January 11, 2012 and January 24, 2012, and sends in his or her name, phone number, address, and subscription number to christine.wood@seattlesymphony.org are eligible for the prize if they meet all the eligibility requirements herein.
   3. Persons who submit his or her name, phone number and address to the Seattle Symphony during the period from January 25, 2012 to March 3, 2012 are also eligible for the prize if they meet eligibility requirements herein. Entries may be made by e-mail to christine.wood@seattlesymphony.org and/or mail to: Attention: 12-Day Seattle Double Denali Express (U2 Cruisetour) Contest, The Seattle Symphony, 200 University St., Seattle, WA 98101.  Entries must be received by end of business March 3, 2012.

Details of the Prize:

The Prize consists of one (1) Roundtrip for two guests on a 12-Day Seattle Double Denali Express (U2 Cruisetour) departing in 2012.  Winner may select any 12-Day Seattle Double Denali Express (U2 Cruisetour) departing in 2012, subject to availability at time of confirmation.  The Prize consists of stateroom accommodations for the winner and one (1) guest (same stateroom) and most shipboard meals (certain alternative dining options require payment of a fee).  Stateroom category will be assigned by Holland America Line.  All expenses and costs associated with the acceptance or use of any prize that are not expressly specified in these Official Rules as being part of the Prize (including without limitation airfare or other transportation to or from port of departure, ground transfers, shore excursions, hotel service charges, personal onboard expenses, or applicable passport, visa and entry/exit fees) are the responsibility of the winner.  Ship’s registry:  The Netherlands.  Prize is provided subject to the Holland America Line Cruise Contract and applicable terms and conditions set forth in the Holland America Line brochure from which the cruise is selected.  Guests under the age of 21 years (whether that be the Prize winner or not) must be accompanied by a parent, relative or guardian 21 years or older in the same stateroom.  The Prize is non-transferable, non-refundable, non-negotiable for cash, may not be resold, and cannot be used as partial payment toward a different Holland America cruise or stateroom category other than that assigned. The Prize winner and guest are NOT eligible for Holland America air/sea programs or Holland America’s Cancellation Protection Plan programs.  No substitution of the Prize or any component thereof is permitted, except in the discretion of Sponsor, which reserves the right to substitute the Prize for a prize of equal or greater value.  All federal, state/provincial and local taxes on Prize value, if applicable, are the sole responsibility of winner.  An IRS form 1099 will be issued if required by law.  The approximate retail value (“ARV”) of the estimated between $2,600 and $5,000 (USD).  Actual value depends on market conditions at time of fulfillment.  Any difference between ARV and actual value will not be awarded.  The Prize will be awarded if properly claimed.

GENERAL RULES:

The following General Rules apply to all Seattle Symphony Drawings:

1. NO PURCHASE IS NECESSARY TO ENTER. The drawings are subject to federal, state and local laws and are void where prohibited by law and are open only to U.S. citizens who reside in the State of Washington. Entrants must be at least 18 years old or older.
2. Determination of Winner. Winner need not be present to win. Winning entries will be randomly selected from all valid entries received. If an entry does not supply all the information deemed necessary to declare a winner, the entry will be deemed invalid and another entry will be selected. When entering a drawing via an advertiser’s web banner or logo hyperlink, the Seattle Symphony is not responsible for prize(s) fulfillment or any aspect of the drawing. Final determination of all winners will be made solely by the Seattle Symphony. All results are unofficial until winners respond to telephone notification.  Any winner found to have supplied false or misleading information may be disqualified from the drawings and therefore forfeit the prize(s).
3. Release Of Liability. The Seattle Symphony, other Sponsors, and their respective officers, directors and employees (collectively “Releasees”) shall be released and discharged from any and all legal claims, losses, injuries, demands, damages, actions, and/or causes of actions which arise out of and/or are in any way related to the prize, the receipt, use and/or enjoyment of the prize(s), and/or damages or losses related to the drawings. Entrants release and hold harmless the Releasees from any and all liability for claims, injuries, losses or damages of any kind, including without limitation, death and bodily injury, resulting, in whole or in part, directly or indirectly, from: the awarding, delivery, acceptance, use, misuse, possession, loss or misdirection of the prize(s); participation in the drawings or any related activity or travel; or from any interaction with, or downloading of, computer’s drawings information. If a Sponsor pulls out of the drawings for reasons beyond the Seattle Symphony’s control, the Seattle Symphony is not responsible for continuing the drawings and may substitute prizes to fulfill obligations.
4. Unacceptable Entries. Multiple or mechanically reproduced entries may result in disqualification. Entries that are altered, delayed, deleted, destroyed, forged, fraudulent, improperly accessed, inaccurate, incomplete, interrupted, irregular in any way, late, lost, misdirected, multiple, non-delivered, stolen, tampered with, unauthorized, unintelligible or otherwise not in compliance with these Rules; or for lost, interrupted or unavailable network, server or other connections; miscommunications; failed phone, computer hardware or software or telephone transmissions; technical failures; unauthorized human intervention; traffic congestion; garbled or jumbled transmissions; undeliverable emails resulting from any form of active or passive email filtering; insufficient space in your email account to receive email; or other errors of any kind, whether due to electronic, human, mechanical, printing, production or technical errors or other causes; even if caused by the negligence of any of the Releasees.
5. Transferability/Substitution Of Prize. All prizes and components are not exchangeable or redeemable for cash, and are subject to terms and conditions of use as stated thereon.  Winner agrees to accept all blackout dates, space availability requirements, etc. established by the Sponsor. Winner agrees that acceptance of any trip taken as a prize from the Seattle Symphony is entirely of their own initiative, risk, and responsibility and winner and any travel companions will be required to sign a Travel Release and form, if and when required. Taxes are the sole responsibility of the winner.  In accepting a prize(s), the winner accepts to take the prize(s) as outlined in the drawing herein. If a change of the dates of a prize(s) is an option, all additional expenses, change fees, etc. will be the responsibility of the winner. If the winner is not able or chooses not to accept the prize(s) “as is”, the winner forfeits his/her prize(s). The Seattle Symphony reserves the right to select another winner. Winner is responsible for all costs associated with travel to any venue or event for which a prize was awarded, unless otherwise specified.
6. Additional Eligibility And Limitations. All winners must disclose his or her legal name, address, phone number, date of birth and Social Security Number, where applicable.  Any winner found to have supplied false or misleading information may be disqualified from the drawings and therefore forfeit the prize(s).  Winner agrees Sponsors may use his or her name and image in publicity relating to the drawings.  Employees of the Seattle Symphony and any and all parent, subsidiary, related and affiliated companies, and their respective officers, directors employees and agents and their dependents and immediate families, as well as employees of Sponsors and vendors, and employees of other broadcast stations are NOT eligible to participate or win.
7. Intellectual Property. The drawings and all of the related pages, contents and code are copyright of the Seattle Symphony. Copying or unauthorized use of any copyrighted materials, trademarks or any other intellectual property without the express written consent of its owner is strictly prohibited.
8. Amendments To Rules. The Seattle Symphony reserves the right to amend the drawing dates and rules at any time. If any portion of the above rules is determined to be unenforceable due to local or state laws, all remaining portions of these official rules determined to be enforceable remain in effect. In the event viruses, unauthorized human intervention, Acts of God, acts or regulations of any governmental or supra-national authority, war, national emergency, accident, fire, riot, strikes, lock-outs, industrial disputes, acts of terrorism or other matters beyond the Sponsors’ reasonable control, corrupt, prevent or impair the administration, security, fairness or proper play of the drawings, so that it cannot be conducted as originally planned, Sponsors have the right, in their sole discretion, to modify the Rules or to cancel, modify, terminate or suspend the drawing; and in such event, to select a winner by such method as Sponsors in their sole discretion shall consider equitable; and in the event a trip has already commenced, to terminate the trip and return the winner to the port of origin as soon as reasonably possible.
9. Postponement Or Cancellation Of Drawing. The Seattle Symphony reserves the right to postpone or cancel a drawing without notice. In such instances, the prize(s) may be awarded at a future date at the Seattle Symphony’s discretion.

Maria Larionoff, cofounder of The American String Project and former Seattle Symphony Concertmaster, takes center stage once again to perform Pēteris Vasks’ ethereal Violin Concerto, Distant Light. This marks the Seattle Symphony’s first-ever performance of the concerto, composed in 1997, and chances are, this week’s concert on Saturday will be your first-ever experience of the work.

We got the scoop from Maria on what it’s like to perform this concerto, what she loves about it and what might surprise you.

Q: What did you think the first time you heard this Violin Concerto?

A: I fell in love with this piece when I first heard it. It really speaks to me in a very personal way, as all of Vasks’ music does. Several years ago [husband and bassist] Barry [Lieberman] arranged Vasks’ Fourth String Quartet for The American String Project, and it was very exciting to perform. Vasks is a great bass player himself, so he really understands how it feels to play a string instrument.

Q: Distant Light is a unique concerto in many ways – it is structured in one long movement rather than three, and while it is a new work, there is something very Romantic about it. In what ways do you connect with this music?

A: Distant Light is a work that is an experience to perform. Starting with a very atmospheric opening that is mysterious and ethereal and progressing through several cadenzas and romantic interludes, it builds to a wild, chaotic climax and then ends the way it started. There is a nostalgic little waltz near the end that is reminiscent of Shostakovich. Vasks himself says his two greatest influences were Mahler and Lutosławski, and you can hear that in the music. I think audience members hearing it for the first time will be surprised at how accessible the music is music — it’s not a piece to be intimidated by.

Q: How do you tackle those dramatic cadenzas?

A: The challenging part about cadenzas is the pacing. The performer needs to feel when to take time and when to push forward. The concerto was written for [violinist] Gidon Kremer, so it’s very virtuosic.

Q: In our last chat, you were looking forward to dedicating more time to education outreach work for The American String Project. How is that going?

A: The String Project is on hiatus this year (we felt we needed a break after 10 years!) and we are making plans for our education program the following season.

Want to learn more? Click here for the program notes, audio clips and tickets for Saturday’s performance.

Driven by a passion to bring classical music to new audiences, world-renowned pianist Orli Shaham juggles several careers as a respected broadcaster, writer, lecturer and performer. She plays both Mozart and Stravinsky in performances with the Seattle Symphony this Thursday and Saturday.

On Wednesday, we caught up with Orli (and Milo, her dachshund) after rehearsal to chat about tackling two pieces in one concert, listening boldly and how classical music is like a foreign film.

Q: In this program, you’re spanning the centuries with Mozart’s Piano Concerto No. 20 and Stravinsky’s Capriccio for Piano and Orchestra. How do you approach these very different pieces?

A: It’s interesting for me to play them both on the same program, because the way I approach one informs the other. This particular Stravinsky harkens back to an earlier time — even earlier than Mozart — to a Baroque sort of sound. And on some level, the Mozart is one of the most forward-looking concerti of the Enlightenment; it’s really a Romantic piano concerto that just happened to be written before the Romantic age. Neither composer lives in his own time, so playing them together really puts my focus on taking in all the different styles the composers would have been thinking of.

Q: Most soloists perform only one piece on a program, but you’ll be playing two. What will you be doing during intermission to prepare for round two?

A: I find it very difficult to focus on more than one piece at a time, so in the intermission you would find me frantically switching gears to Mozart, just playing through that and pushing the Stravinsky out of my brain!

Q: You’re married to David Robertson, the conductor for this concert. How do you influence each other’s musicianship?

A: We met playing music together. Our relationship was musical before it was anything else; when we get on stage, we make each other better the same way we did the very first time. We actually had our ninth wedding anniversary yesterday. I still find that he says things I feel like I’m learning from. And I think maybe, occasionally, I make a comment or two that help him out as well.

Q: You created “Dial-a-Musician,” a radio program with Classical Public Radio Network, and this month you begin hosting a radio series for American’s Music Festivals. How did you get from practice room to radio studio?

A: Somebody just asked me if I would do radio and I said, “Yeah!” Radio was on in our house most of the day — TV wasn’t — so I grew up with that sound in my head as a very strong part of what I was used to. When somebody asked if I would create something for CPRN, I was so excited.

Q: How would you encourage new listeners to get the most out of classical music?

A: I think it depends on who you are. If you’re the type of person who wants to know as much as possible before approaching something new, then find out as much as possible. Once you come to the concert, let your instincts take over. If you fear it going in, you’ll miss what’s going on, but if you come in saying, “You know what? Music is a universal language, that means I should understand it,” you’ll get so much more. Just let music do its thing for you.

After the concert, if there’s a piece that took your fancy, follow it up before it gets lost. You will get so much more out of the second listening. It’s just like approaching a foreign movie with subtitles —  you might not get as much the first time because you were busy reading the words rather than looking at the screen. I really do think music is designed to speak to everyone.

Q: We have a new tagline at the Seattle Symphony: Listen Boldly. What does that mean to you?

A: You should approach music without fear, the way, frankly, you should approach everything in your life. You should feel confident that you are ready to handle whatever it is, and that will make you able to handle that much more.

On this date in 1903, the Seattle Symphony Orchestra…

Courtesy Seattle Symphony Archives

…gave its first concert…

Courtesy Seattle Symphony Archives

…which means…

…IT’S OUR BIRTHDAY!!! Want to celebrate?

Come see Conductor Laureate Gerard Schwarz…

(c) Ben VanHouten

…conduct the uplifting Ninth Symphony…

…of Beethoven.

Happy Birthday to us, and Happy New Year to YOU!

Read about the program and get tickets here. For the New Year’s Eve program, click here.

To Grandmother’s house you go? Here are excerpts from a few of our favorite pieces that’ll get you over the river and through the woods.

Packing up the car: “Sleigh Ride” by Leroy Anderson. Giddy-up: let’s go!

Venturing over the mountains: Grieg’s “In the Hall of the Mountain King.” Watch out for trolls, goblins and, of course, icy roads.

Driving east across the plains: Sibelius’ Symphony No. 2. It’s music big enough to fill those wide-open spaces.

Zipping on over to Bellevue: Bach’s “Brandenburg” Concerto No. 5. It’s just the right length and cheerfulness. (Traffic-willing.)

Frantically scrambling to pack? Taking the clipper to Victoria? Fighting traffic en route to Tacoma? What are your playlist picks? Head to our Facebook or Twitter pages and let us know!

Welcome 2012 with the Seattle Symphony! Start your evening with Beethoven’s mighty Ninth Symphony — featuring his famous “Ode to Joy” finale. Then, ring in the New Year in a post-concert celebration with dancing to the music of Billy Mac and His Band and a countdown to midnight.

Win it: Two tickets to New Year’s Eve: Concert, Countdown & Celebration! on Saturday, December 31, 2011, at 9pm

Answer it: Which of the following is not dropped on New Year’s Eve?

lots of cash on things you probably don’t need

the Times Square ball

2.8 champagne glasses per household

a single note in Beethoven’s Ninth performed by the Seattle Symphony

Tweet your response to @seattlesymphony by 5pm, and don’t forget the hashtag #ssodozendays. We’ll announce the winner via Twitter this evening. Good luck!

Not a winner? Click here for tickets!

Here’s the scoop on Dozen Days of December.

An annual favorite! Come to Benaroya Hall to experience the story of the Nativity told through readings, choral settings and audience carols.

Win it: Two tickets to A Festival of Lessons & Carols, Wednesday, December 21, 2011, at 7:30pm

Answer it: The first instrument on which the carol “Silent Night” was performed, in 1818,  was:

a harp 

a pipe organ 

a guitar 

a kazoo 

Tweet your response to @seattlesymphony by 5pm, and don’t forget the hashtag #ssodozendays. We’ll announce the winner via Twitter this evening. Good luck!

Not a winner? Click here for tickets!

Here’s the scoop on Dozen Days of December.

image © Ben VanHouten

Ludwig van Beethoven’s Symphony No. 9 has enthralled listeners worldwide since its premiere in 1824. Dramatic and ardently felt, the first three movements form a magnificent introduction to the famed finale with text from Friedrich Schiller’s inspiring “Ode to Joy.”

Win it: Two tickets to Beethoven’s Ninth Symphony, Thursday, December 29, 2011, at 7:30pm

Answer it: Describe Beethoven’s Ninth in nine words.

Tweet your response to @seattlesymphony by 5pm, and don’t forget the hashtag #ssodozendays. We’ll announce the winner via Twitter this evening. Good luck!

Not a winner? Click here for tickets!

Here’s the scoop on Dozen Days of December.