{"id":15013,"date":"2010-02-08T07:00:01","date_gmt":"2010-02-08T07:00:01","guid":{"rendered":"https:\/\/blogs.msdn.microsoft.com\/oldnewthing\/2010\/02\/08\/the-20102011-seattle-symphony-subscription-season-at-a-glance\/"},"modified":"2010-02-08T07:00:01","modified_gmt":"2010-02-08T07:00:01","slug":"the-20102011-seattle-symphony-subscription-season-at-a-glance","status":"publish","type":"post","link":"https:\/\/devblogs.microsoft.com\/oldnewthing\/20100208-01\/?p=15013","title":{"rendered":"The 2010\/2011 Seattle Symphony subscription season at a glance"},"content":{"rendered":"

Every<\/a> year<\/a>, I put together a little pocket guide<\/a> to the Seattle Symphony subscription season<\/a> for my symphony friends to help them decide which ticket package they want. As before, you might find it helpful, you might not, but either way, you’re going to have to suffer through it. Here’s the at-a-glance season guide for Gerard Schwarz’s final season as the orchestra’s music director.<\/p>\n\n<\/colgroup>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
Week<\/th>\nProgram<\/th>\nComments<\/th>\n<\/td>\n18<\/font><\/th>\n12<\/font><\/th>\n9A<\/font><\/th>\n9B<\/font><\/th>\n<\/td>\n6AB<\/font><\/th>\n6CD<\/font><\/th>\n6EF<\/font><\/th>\n6G<\/font><\/th>\n<\/td>\n4B<\/font><\/th>\nBB<\/font><\/th>\nMM<\/font><\/th>\n<\/td>\nRA<\/font><\/th>\nRB<\/font><\/th>\nBS<\/font><\/th>\nSS<\/font><\/th>\n<\/tr>\n
09\/23
2010<\/td>\n		 Foote: Francesca da Rimini<\/i>
Brahms: Symphony #3
Prokofiev: Piano Concerto #2<\/td>\n		Okay?
Awesome
Good<\/td>\n		 <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
09\/30
2010<\/td>\n		 Debussy: Pelléas et Mélisande<\/i> Suite
Kernis: Air<\/i>
Bloch: Baal Shem<\/i>
Dvořák: Symphony #7<\/td>\n		Okay
Good?
Nervous?
Excellent<\/td>\n		 <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n\n

<\/p>\n

 <\/div>\n<\/td>\n
 <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
10\/07
2010<\/td>\n		 Copland: Appalachian Spring<\/i> Suite
Gershwin: Rhapsody in Blue<\/i>
Ravel: Concerto for Left Hand
Stravinsky: Symphony in Three Movements<\/td>\n		Excellent
Awesome
Excellent
Okay<\/td>\n		 <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
10\/15
2010<\/td>\n		 Bach: Orchestral Suite #1, BWV 1066
Handel (arr. Schwarz): Concerto Grosso Op 6 No 9
Bach: Brandenburg Concerto #1
Handel: Water Music<\/i> Suite #2<\/td>\n		Excellent
Awesome
Excellent
Awesome<\/td>\n		 <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
10\/23
2010<\/td>\n		 Gabrieli: Due Canzoni<\/i>
Bach: Toccata and Fugue in D minor, BWV 565
Handel: Organ Concerto The Cuckoo and the Nightingale<\/i><\/font>
Widor: Symphony #6 Allegro<\/i>, Op 42 No 2
Hanson: Concerto for Organ and Harp
Poulenc: Organ Concerto in G minor<\/td>\n		Excellent?
Awesome
Good?
Good?
Wildcard
Nervous<\/td>\n		 <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
10\/28
2010<\/td>\n		 Mozart: Symphony #33, K319
Copland: Clarinet Concerto
Schnittke: Moz-Art à la Haydn<\/i>
Haydn: Symphony #45 Farewell<\/i><\/td>\n		Awesome
Nervous
Nervous
Excellent<\/td>\n		 <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
10\/31<\/td>\n Debussy: La Mer<\/i> (lecture-concert)<\/td>\nExcellent<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
11\/04
2010<\/td>\n		 Yannatos: Ritual Images<\/i>
Debussy: La Mer<\/i>
Beethoven: Piano Concerto #5, Emperor<\/i><\/td>\n		Nervous
Excellent
Awesome<\/td>\n		 <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
11\/11
2010<\/td>\n		 Liszt: Mephisto Waltz<\/i> #1
Prokofiev: Symphony #3
Tchaikovsky: Piano Concerto #1<\/td>\n		Awesome
Okay
Awesome<\/td>\n		 <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/p>\n
 <\/p>\n<\/div>\n<\/td>\n
 <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
11\/18
2010<\/td>\n		 Rossini: Overture to Semiramide<\/i>
Glass: Violin Concerto
Bizet: Symphony #1
Ravel: Boléro<\/i><\/td>\n		Awesome
Nervous
Excellent
Awesome<\/td>\n		 <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
12\/09
2010<\/td>\n		 Roussel: Bacchus et Ariane<\/i> Suite #2
Lieberson: Neruda Songs<\/i>
Prokofiev: Romeo and Juliet<\/i> Excerpts<\/td>\n		Good?
Nervous
Excellent<\/td>\n		 <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n\n
 <\/div>\n

<\/p>\n

 <\/div>\n<\/td>\n
 <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
01\/06
2011<\/td>\n		 Sheng: Shanghai Overture<\/i>
Bartók: Violin Concerto #2
Borodin: Symphony #1<\/td>\n		Nervous
Nervous
Excellent<\/td>\n		 <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
01\/20
2011<\/td>\n		 Mozart: Symphony #28, K189K [200]
Mozart: Horn Concerto #2, K417
Mozart: Requiem, K626<\/td>\n		Excellent
Excellent
Excellent<\/td>\n		 <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
01\/27<\/td>\n Operatic highlights: Dramatic moments<\/td>\nExcellent<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n\n
 <\/div>\n<\/td>\n
 <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
01\/29<\/td>\n Operatic highlights: Comedic moments<\/td>\nExcellent<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n\n
 <\/div>\n<\/td>\n
 <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
02\/03
2011<\/td>\n		 Berlioz: Overture to Benvenutto Cellini<\/i>
Lalo: Symphonie espagnole<\/i>
Bruckner: Symphony #6<\/td>\n		Good
Awesome
Nervous<\/td>\n		 <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
02\/10
2011<\/td>\n		 Debussy: Prélude à l’aprèes-midi d’un faune<\/i>
Messiaen: Oiseaux exotiques<\/i>
Mozart: Rondo for Piano in D, K382
Brahms: Symphony #4<\/td>\n		Excellent
Nervous
Awesome
Awesome<\/td>\n		 <\/td>\n <\/td>\n\n
 <\/div>\n
 <\/div>\n<\/td>\n
 <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n\n
 <\/div>\n
 <\/div>\n<\/td>\n
 <\/td>\n <\/td>\n<\/tr>\n
02\/17
2011<\/td>\n		 Telemann: Viola Concerto in G, TWV 51:G9
Brahms: Serenade #2
Berlioz: Harold in Italy<\/i><\/td>\n		Good?
Excellent
Good<\/td>\n		 <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
02\/27<\/td>\n Vivaldi: Four Seasons<\/i> (lecture-concert)<\/td>\nAwesome<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
03\/11
2011<\/td>\n		 Graun: Overture and Tra le procelle assorto<\/i> from Cleopatra e Cesare<\/i><\/font>
Hasse: Morte, col fiero aspetto<\/i><\/font> from Marc’Antonio e Cleopatra<\/i><\/font>
Handel: Water Music<\/i> Suite #1
Handel: Overture and Piangerò la sorte mia<\/i> from Guilio Cesare<\/i><\/font>
Handel: Concerto Grosso in G, Op 6 No 1
Matheson: The Death of Cleopatra<\/i> from Cleopatra<\/i><\/font><\/td>\n		Excellent?
Excellent?
Awesome
Good?
Excellent
Wildcard<\/td>\n		 <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
03\/17
2011<\/td>\n		 Borodin: Polovtsian Dances<\/i>
Khachaturian: Violin Concerto
Shostakovich: Symphony #5<\/td>\n		Excellent
Okay?
Excellent<\/td>\n		 <\/td>\n <\/td>\n\n
 <\/div>\n

<\/p>\n

 <\/div>\n<\/td>\n
 <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n\n
 <\/div>\n

<\/p>\n

 <\/div>\n<\/td>\n
 <\/td>\n <\/td>\n<\/tr>\n
03\/24
2011<\/td>\n		 Hovhaness: Symphony #7, Nanga Parvat<\/i>
Hovhaness: Prelude and Quadruple Fugue
Hovhaness: Symphony #2, Mysterious Mountain<\/i>
Dvořák: Cello Concerto<\/td>\n		Nervous
Nervous
Nervous
Awesome<\/td>\n		\n
 <\/p>\n<\/div>\n<\/td>\n
 <\/td>\n <\/td>\n <\/td>\n\n
 <\/p>\n<\/div>\n<\/td>\n
 <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
03\/26
2011<\/td>\n		 Hovhaness: Symphony #14, Ararat<\/i>
Hovhaness: Symphony #50, Mount St. Helens<\/i>
Elgar: Cello Concerto<\/td>\n		Nervous
Nervous
Excellent<\/td>\n		\n
 <\/p>\n

<\/div>\n<\/td>\n

 <\/td>\n <\/td>\n <\/td>\n\n
 <\/p>\n

<\/div>\n<\/td>\n

 <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
03\/31
2011<\/td>\n		 Brahms: Schicksalslied<\/i>
R. Strauss: Also sprach Zarathustra<\/i>
Saint-Saëns: Symphony #3, Organ<\/i><\/td>\n		Excellent
Polarizing
Awesome<\/td>\n		 <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
04\/07
2011<\/td>\n		 Ravel: Ma Mère L’Oye<\/i> Suite
Prokofiev: Violin Concerto #1
Rachmaninov: Symphony #3<\/td>\n		Awesome
Polarizing
Good<\/td>\n		 <\/td>\n <\/td>\n\n
 <\/div>\n

<\/p>\n

 <\/div>\n<\/td>\n
 <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n\n
 <\/div>\n

<\/p>\n

 <\/div>\n<\/td>\n
 <\/td>\n <\/td>\n<\/tr>\n
04\/21
2011<\/td>\n		 McTee: Double Play<\/i>
Gershwin: Concerto in F
Tchaikovsky: Symphony #5<\/td>\n		Wildcard
Awesome
Awesome<\/td>\n		 <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
04\/28
2011<\/td>\n		 Sibelius: Symphony #7
Britten: Violin Concerto #1
Bartók: Concerto for Orchestra<\/td>\n		Good
Nervous
Excellent<\/td>\n		 <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
05\/05
2011<\/td>\n		 Martinů: Toccata e due canzoni<\/i>
Shostakovich: Piano Concerto #1
Honegger: Pastorale d’été<\/i>
Haydn: Symphony #60, Il distratto<\/i><\/td>\n		Nervous
Good
Excellent?
Excellent<\/td>\n		 <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
05\/13
2011<\/td>\n		 CPE Bach: Symphony for String Orch. in G, Wq 183\/4<\/font>
CPE Bach: Double Harpsichord Concerto in F, Wq 47<\/font>
CPE Bach: Symphony for String Orch. in D, Wq 183\/1<\/font>
Bach: Sinfonia from Cantata 42<\/font> Am Abend aber desselbigen Sabbats<\/i><\/font>
Telemann: Tafelmusik III<\/i> Suite and Conclusion<\/td>\n		Awesome
Good?
Excellent
Good?
Good?<\/td>\n		 <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
05\/19
2011<\/td>\n		 Mendelssohn: The Hebrides<\/i>
Mozart: Violin Concerto #4, K218
Beethoven: Symphony #8<\/td>\n		Excellent
Excellent
Excellent<\/td>\n		 <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
05\/22<\/td>\n Dvořák: Symphony #9 (lecture-concert)<\/td>\nAwesome<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
06\/02
2011<\/td>\n		 Jones: Symphonic Poem<\/i>†
Liszt: Piano Concerto #2
Shostakovich: Symphony #10<\/td>\n		Wildcard
Excellent
Nervous<\/td>\n		 <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
06\/16
2011§<\/td>\n		 Schubert: Symphony #8, Unfinished<\/i>
Mahler: Symphony #2, Resurrection<\/i><\/td>\n		Awesome
Polarizing<\/td>\n		 <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
 <\/th>\n <\/th>\n <\/th>\n18<\/font><\/th>\n12<\/font><\/th>\n9A<\/font><\/th>\n9B<\/font><\/th>\n6AB<\/font><\/th>\n6CD<\/font><\/th>\n6EF<\/font><\/th>\n6G<\/font><\/th>\n4B<\/font><\/th>\nBB<\/font><\/th>\nMM<\/font><\/th>\nRA<\/font><\/th>\nRB<\/font><\/th>\nBS<\/font><\/th>\nSS<\/font><\/th>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
† <\/td>\nPremiere<\/td>\n<\/tr>\n
§ <\/td>\nSchwarz farewell concert<\/td>\n<\/tr>\n
18 <\/td>\nMasterworks 18AB<\/td>\n<\/tr>\n
12 <\/td>\nMasterworks 12AB<\/td>\n<\/tr>\n
9A <\/td>\nMasterworks 9A<\/td>\n<\/tr>\n
9B <\/td>\nMasterworks 9B<\/td>\n<\/tr>\n
6AB <\/td>\nMasterworks 6AB<\/td>\n<\/tr>\n
6CD <\/td>\nMasterworks 6CD<\/td>\n<\/tr>\n
6EF <\/td>\nMasterworks 6EF<\/td>\n<\/tr>\n
6G <\/td>\nMasterworks 6G<\/td>\n<\/tr>\n
4B <\/td>\nMasterworks 4B<\/td>\n<\/tr>\n
BB <\/td>\nBaroque<\/td>\n<\/tr>\n
MM <\/td>\nMainly Mozart<\/td>\n<\/tr>\n
RA <\/td>\nRush Hour A<\/td>\n<\/tr>\n
RB <\/td>\nRush Hour B<\/td>\n<\/tr>\n
BS <\/td>\nBeyond the Score<\/td>\n<\/tr>\n
SS <\/td>\nSymphony Specials<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

For those not familiar with the Seattle Symphony ticket package line-ups: Most of the ticket packages are named Masterworks nX<\/i> where the number is the number of concerts in the package, and the letter indicates which variation. Ticket packages which are identical (or near-identical) have been combined. For example, 6C and 6D are the same concerts; the only difference is that 6C is for Thursday nights, while 6D is for Saturday nights. Split boxes are used for concert differences between near-identical series. (For example, the 18A series gets the Dvořák Cello Concerto whereas the 18B series gets the Elgar.) Some concerts (such as the Rush Hour series) are reduced-program; partially-filled boxes show which works are included.\n Changes from last season:<\/p>\n

    \n
  • The Masterworks 18 series has two bonus concerts (for a total of 20), down from four bonus concerts last yet. (The 12, 9, and 6 series each have one bonus concert; same as last year.) <\/li>\n
  • Discontinued series: 4A. <\/li>\n
  • The Popular Classics series became the Rush Hour series (and there are now two of them). <\/li>\n
  • The Musically Speaking series became the Beyond the Score series and has become a “one-off” series. <\/li>\n
  • The Basically Baroque Series has been renamed the Baroque and Northwest Wine Series. (Tastings take place before the concerts.) It too has become a “one-off” series. <\/li>\n<\/ul>\n

    This chart doesn’t include “one-off” concert series such as the Visiting Orchestras or Distinguished Artists series. A “one-off” series is a concert series which shares no concerts with any other series. (Beyond the Score<\/i> and Baroque and Northwest Wine<\/i> are grandfathered in; I’ll probably omit them in future years.)\n The comments column very crudely categorizes the works to assist my less-classically-aware friends. This is, of course, a highly subjective rating system, but I tried to view each piece from the ears of my symphony friends. Thus, I rated downward pieces that I personally like but which others might not and rated up pieces that I may not find musically satisfying but which nevertheless tend to be crowd-pleasers.\n These predictions have, of course, proven wrong in the past. Though I finally overcame my Bruckner jinx, and my symphony friends actually liked the Bruckner Fourth, except for the fact that it went on too long. One of my friends described it as “It’s like a conversation that starts out really nice, but then it starts to drag on and get repetitive, and they just won’t shut up.” (How was I to know that Masur would not only use the Hass revision, but also take all the repeats<\/i>? The work is already too long at 60 minutes; the right thing to do is to cut 20 minutes of it, not to add another 20!)<\/p>\n

    Here’s what the comments mean. Note that they do not indicate whether the piece is significant in a musicological sense; they’re just my guess as to whether my friends are going to like it. (For example, I know that my friends hate minimalism, so I rated the Glass down even though I myself would enjoy it.) <\/p>\n

      \n
    • Awesome: Guaranteed crowd-pleaser. <\/li>\n
    • Excellent: You will definitely like this piece. <\/li>\n
    • Good: You will probably like this piece. <\/li>\n
    • Okay: You may like this piece. <\/li>\n
    • Nervous: I have a bad feeling about this one. <\/li>\n
    • Polarizing: Some people will love it; others will hate it. <\/li>\n
    • Wildcard: I have no idea what will happen. <\/li>\n<\/ul>\n

      In many cases, I am not familiar with the piece and am basing my evaluation on what I know about the composer (or am just guessing). <\/p>\n","protected":false},"excerpt":{"rendered":"

      Every year, I put together a little pocket guide to the Seattle Symphony subscription season for my symphony friends to help them decide which ticket package they want. As before, you might find it helpful, you might not, but either way, you’re going to have to suffer through it. Here’s the at-a-glance season guide for […]<\/p>\n","protected":false},"author":1069,"featured_media":111744,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[1],"tags":[103],"class_list":["post-15013","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-oldnewthing","tag-non-computer"],"acf":[],"blog_post_summary":"

      Every year, I put together a little pocket guide to the Seattle Symphony subscription season for my symphony friends to help them decide which ticket package they want. As before, you might find it helpful, you might not, but either way, you’re going to have to suffer through it. Here’s the at-a-glance season guide for […]<\/p>\n","_links":{"self":[{"href":"https:\/\/devblogs.microsoft.com\/oldnewthing\/wp-json\/wp\/v2\/posts\/15013","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/devblogs.microsoft.com\/oldnewthing\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/devblogs.microsoft.com\/oldnewthing\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/devblogs.microsoft.com\/oldnewthing\/wp-json\/wp\/v2\/users\/1069"}],"replies":[{"embeddable":true,"href":"https:\/\/devblogs.microsoft.com\/oldnewthing\/wp-json\/wp\/v2\/comments?post=15013"}],"version-history":[{"count":0,"href":"https:\/\/devblogs.microsoft.com\/oldnewthing\/wp-json\/wp\/v2\/posts\/15013\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/devblogs.microsoft.com\/oldnewthing\/wp-json\/wp\/v2\/media\/111744"}],"wp:attachment":[{"href":"https:\/\/devblogs.microsoft.com\/oldnewthing\/wp-json\/wp\/v2\/media?parent=15013"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/devblogs.microsoft.com\/oldnewthing\/wp-json\/wp\/v2\/categories?post=15013"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/devblogs.microsoft.com\/oldnewthing\/wp-json\/wp\/v2\/tags?post=15013"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}