On July 22, Nordstrom Recital Hall at Benaroya Hall staged a spellbinding evening as the Seattle Chamber Music Society’s Summer Festival blended the timeless elegance of Mozart’s Flute Quartet in C Major, K. 285b with stirring works by Hindemith, Clarke, and Fauré. The program featured world-class soloists Demarre McGill (flute), Jun Iwasaki (violin), Paul Neubauer (viola), and Bion Tsang (cello), accompanied by pianists James Ehnes, Adam Neiman, and Steven Osborne. A free “Ragtime and Jazz” prelude at 6:30 pm, highlighted by Steven Osborne’s renditions of Joplin, Gershwin, Jarrett, Evans, and Peterson, set a vibrant tone for the evening.
From its opening bars, Mozart’s Flute Quartet radiated clarity and camaraderie. McGill’s luminous tone and precise articulation, paired with Iwasaki’s warm violin, Neubauer’s rich viola, and Tsang’s resonant cello, recreated the intimate balance of classical chamber music. Their seamless interplay captured both youthful sparkle and refined maturity, transforming Mozart’s work into a vibrant living conversation onstage.
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The concert shifted toward more modern expressions with Paul Hindemith’s Viola Sonata, Op. 11, No. 4, performed by James Ehnes and pianist Adam Neiman. Their interpretation balanced Hindemith’s technical rigor with poetic nuance, highlighting rhythmic textures and emotional depth. Classical context deepened further with Rebecca Clarke’s “Morpheus,” a richly colored viola and piano piece—again under Ehnes and Neiman—that showcased haunting harmonies and lyrical grace.
The evening concluded with Gabriel Fauré’s Piano Quartet No. 2 in G minor, Op. 45, featuring Steven Osborne, Alexander Kerr, Meredith Kufchak, and Brant Taylor. Their performance layered delicate piano lines, heartfelt string melodies, and subtle yet powerful dynamics into a satisfying finale—evoking a sense of wistful resolution while reaffirming chamber music’s emotional resonance.
This lineup built on the Seattle Chamber Music Society’s reputation as the “World’s Largest Chamber Music Party.” Running June 20–August 1, the festival features 12 mainstage concerts, each preceded by a free hour‑long recital, outdoor “Chamber Music in the Park” events, performances aboard the Concert Truck, and the interactive “Tasting Notes” series pairing live music with cooking demonstrations. Artistic Director James Ehnes stated, “I want every single program to be the kind of concert that, if I saw it listed, I would say ‘I have to go to this!’.
The evening’s free “Ragtime and Jazz” prelude—featuring Scott Joplin’s Maple Leaf Rag, Gershwin preludes, and transcriptions of modern jazz classics—offered a refreshing counterpoint to the main program. Steven Osborne’s performances bridged genres and eras, reminding listeners of classical music’s evolving dialogue with broader traditions.
Performers stood out not just for technical mastery but for their sensitivity and connection. Demarre McGill, Principal Flute of the Seattle Symphony, is internationally celebrated as both performer and pedagogue—his artistry enriched Mozart’s score with warmth and elegance. James Ehnes, serving in multiple roles as Artistic Director, violinist, and chamber musician, demonstrated impeccable musicianship throughout the concert cycle.
For the audience, this concert underscored chamber music’s capacity to unite eras, styles, and communities. Mozart’s radiant interplay, Hindemith and Clarke’s modern resonance, Fauré’s introspective sonorities, alongside a spirited jazz prelude, created an evening of rich contrasts. This seamless fusion of classical heritage and contemporary interpretation reaffirmed Seattle’s vibrant summer tradition onstage at Benaroya Hall.
As the Summer Festival continues through August 1, this July 22 performance stands as a marquee moment—showcasing world‑class talent, diverse programming, and the unifying power of music. Throughout the summer, audiences can also enjoy free pre‑concert recitals, concerts in parks and aboard the Concert Truck, and unique events like Tasting Notes that celebrate both sound and community.
This concert affirmed that chamber music remains dynamic and alive, capable of illuminating the old while embracing the new—truly a fitting highlight in Seattle’s summer classical landscape.