Gramophone, which is the Rolling Stone for classical music nerds, nominated our very own Seattle Symphony for their 2018 Orchestra of the Year award. This is a big deal for a couple reasons.
Reason 1: The Seattle Symphony is the only non-European orchestra that the magazine nominated for the prize. To prove that Seattle is #1 foreva and to show we can swing with any of these these dusty-ass old world motherfuckers we gotta win win win. To help the symphony win, simply click here and vote for the Seattle Symphony. I will now discuss the other reasons for why this nomination is a big deal, but beating the Europeans is the best reason and it should be the only reason you need. Voting closes July 31st, so vote now before you forget! Flood the polls!
Reason 2: Gramophone shortlisted Seattle based partly on the strength of the symphony's Grammy-winning recordings. In their explanation, they champion recent recordings under the tenure of music director Ludovic Morlot, including work from Ives, Messiaen, and Dutilleux. (Remember the Frenchy bromance that blossomed between Morlot and Dutilleux? How could you forget. C'est dommage.) They also celebrate incoming music director Thomas Dausgaard's conducting on Nielsen’s Third and Fourth Symphonies. Awards beget awards, so we must keep the awards coming.
Reason 3: Speaking of awards, today the Symphony dropped an album featuring Berio, Boulez, and Ravel. The New York Times called it "startlingly fine." It's definitely a Grammy contender, and it's already #1 on iTunes under Classical New Albums. I remember seeing the concert they recorded for this album, and the collaboration with vocal ensemble Roomful of Teeth and the Seattle Symphony Orchestra for Berio's Sinfonia remains one of the wildest, most schizophrenic musical fever dreams I've ever experienced.