Among composers in classical music there is a small subspecies little known to the public: the composer-critic. Writing in The State of Music, Virgil Thomson, the foremost composer-critic of the 20th century, explained, "Writing occasional articles is an inveterate habit of composers. The profession is incurably literate. Such writing is interesting to the public because it is both authoritative and passionately prejudiced."

The composer-critic has an illustrious and intimidating lineage. Hector Berlioz, Robert Schumann, Claude Debussy, Roberto Gerhard, Virgil Thomson, and John Cage all reviewed concerts and covered the musical issues of their time. In recent decades, Ben Boretz, Tom Johnson, and Kyle Gann all chronicled their respective scenes. Seattle has two composer-critics, myself and longtime Seattle Weekly writer Gavin Borchert.

I ran into Borchert at a chamber-music concert in January and we discussed the upcoming performance of his orchestral piece Sweet wines and wines that foam by Philharmonia Northwest. Citing the Philharmonia's consistently good concerts and steady commitment to new works, Borchert observed, "There's really no one else like them in town."

There's no one else like Borchert in town, either. Who else can compose such fleet-footed, high-spirited music? Like his writing, Sweet wines is passionate yet concise. Sweet wines brims with vivacious wit, with wink-and-a-nod touches such as a popping cork in the percussion section and debonair melodies that dash hither and yon among the instruments.

The concert also showcases the excellent pianist Geísa Dutra, who solos in Prokofiev's Piano Concerto No. 3. I'm even excited by the mandatory warhorse, Brahms's stalwart Symphony No. 4. Orchestras play the Brahms all the time, but seldom at an acoustically intimate venue such as St. Stephen's. Not to be missed.

Concerts

THURSDAY MARCH 1

SEATTLE SYMPHONY
I haven't been too thrilled with the Symphony's ho-hum programming this season, but their mini-festival of Beethoven should deliver a jolt or two: Schwarz and company accompany piano soloist John Lill in all five of Beethoven's concertos for piano. Tonight and Fri Mar 2 at 8 pm feature the Piano Concerto No. 4 in G major and the tempestuous Concerto for Piano No. 5, AKA the "Emperor," a nickname that Beethoven, an ardent opponent of Napoleon, would have doubtless despised. Catch the first three concertos Sat Mar 3 at 8 pm or Sun Mar 4 at 2 pm. Benaroya Hall, 200 University St, 215-4747, 7 pm, $15—$94.

ANN HAMPTON CALLAWAY
When I heard Callaway a couple years ago at a Seattle Men's Chorus concert, she dished out diva-quality singing (especially on "Route 66" and "My Funny Valentine"), dead-on celebrity imitations, and Vegas-caliber patter. Her rendition of "Lover Come Back to Me" on her 2006 disc, Blues in the Night (Telarc) teems with agile phrasing and impeccable scatting. A flamboyant singer, Callaway avoids the usual jazz vocal histrionics: spastic vibrato, vapor-thin high notes, and unseemly, grumbling growls. Her band includes cult-pianist Bill Mays and drummer Victor Lewis. Through Sun Mar 4. Jazz Alley, 2033 Sixth Ave, 441-9729, sets at 7:30 and 9:30 pm, $24.50.

FRIDAY MARCH 2

COMPOSERS WORKSHOP
UW student composers present their works in a concert dominated by electroacoustic music. On the docket: Donald Craig's "Trio for 2 Guitars and Wacom Tablet," Douglas Niemela's Little Bull for viola and live computer electronics, and "Ethereal Wiggle" by Richard Johnson. Chamber pieces by Brandon Pettit, Jeremy Jolley ("constante, éblouie, élancée" for clarinet, cello, and violin), and John Teske ("Horn Trio") round out the program. Brechemin Auditorium in the Music Building, UW campus, 685-8384, 7:30 pm, $5.

SATURDAY MARCH 3

SEATTLE REPERTORY JAZZ ORCHESTRA
Distinctly different than "ghost" bands that continue to tour decades after the leader's death (think Ellington and Count Basie), the Seattle Repertory Jazz Orchestra revives classics through painstaking transcription, often from less-than-hi-fi recordings. Here, the SRJO honors bandleader and clarinetist Woody Herman ("Woodchopper's Ball") and Seattle trumpet legend Floyd Standifer, who passed away in January. Standifer's soulful solos and even-keeled trumpet tone as well as his endearingly distinct singing will be missed. Earlier, there's a free, hour-long kids concert at 4 pm, but call ahead to reserve tickets. Also Sun Mar 4 at the Kirkland Performance Center at 3 pm. Recital Hall at Benaroya, 200 University St, 523-6159, 7:30 pm, $16—$34.

SUNDAY MARCH 4

JEAN-LOUIS COSTES
Touring the U.S. with his "opera porno-social" Les Petits Oiseaux Chient ("Little Birds Shit"), this French performance artist fuses vocal acrobatics, coprophilia, lo-fi '80s industrial songs, noise, and nudity into a cabaret spectacle. Mr. Natural, who fashions instruments out of wood, springs, and contact mics, opens. Definitely not all-ages and definitely not for the squeamish. Re-bar, 1114 E Howell St, 233-9873,8 pm, $8, 21+.