SPOKANE SYMPHONY CONDUCTORS MATT MITCHELL . MODEST MOUSE

MUSIC

FROM LEFT: Spokane Symphony music directors past and present: James Lowe, Fabio Mechetti and Eckart Preu.

THE BATON BRIGADE

A roundtable chat with the three living Spokane Symphony conductors/musical directors, all of whom will take the stage during the 2022-23 season

Classical music is a genre predicated on legacy. No other performance art form primarily leans on works created centuries ago. But within the symphonic realm, it’s also important to be mindful of living legacies. The Spokane Symphony is acutely aware of this.

Before the COVID pandemic put a wrench in live music, the organization planned to bring together all of its living former conductors/music directors to each take up the baton and conduct a concert in its Masterworks series. That includes the current Brit in charge, James Lowe (2019-present); his German predecessor, Eckart Preu (2004-2019); and Brazilian maestro Fabio Mechetti (1993-2004).

That vision becomes a reality during the symphony’s 2022-23 season. Lowe will conduct the bulk of the Masterworks, Mechetti will lead the symphony through a program of Brazilian and German compositions (Gomes, Strwauss, Wagner) in October, and Preu will take the stage for a German/Austrian combo of Wagner and Bruckner next March.

In anticipation of the Masterworks performances, the Inlander organized a Zoom roundtable discussion with all three composers. Here’s a condensed version of that chat (find the full version at Inlander.com).

26 INLANDER FALL ARTS GUIDE 2022

BY SETH SOMMERFELD

INLANDER: WHAT’S THE FIRST THING THAT SPRINGS TO MIND WHEN YOU THINK OF THE SPOKANE SYMPHONY?

LOWE: I think the word I would use is family. That’s the feeling we have when we’re on stage.

PREU: I had a similar feeling. The word that came to my mind first was warmth. It’s something that I felt at my audition concert — people were very open for ideas and were really trying to do whatever you asked them to. During my tenure, I found no matter their repertoire, no matter the venue, no matter what I tried — weird or not — they were always willing to try new things. And that was actually the entire organization, not just the musicians. Nobody would block anything. It has been a very adventurous organization.

MECHETTI: That’s exactly the same feeling I had — what now… almost 30 years ago? What impressed me most about Spokane Symphony was this willingness to really make music and not being afraid to tackle the hardest repertoire. A very honest way of making music.

LOWE: I’d just love to kind of chime in on that one, too. In my kind of selection week, when I had my concert, I’d been working in Finland. And I’d had an idea there, and I said it to the boss there, and she said, “Ah, we don’t do it that way.” And then I remember coming to my audition week and talking to Jeff vom Saal, the executive director, and I mentioned the same idea. And he said, “Ah! We don’t do it like that way… that’s really interesting! Try that!” And that was the moment I thought, “Oh yeah, this is a good gig.”

DO YOU HAVE ANY FAVORITE PIECES OR PERFORMANCES DURING YOUR TENURE?

MECHETTI: Spokane Symphony was my first orchestra, so everything was exciting. Sometimes it was the first time they were playing it — things like Rite of Spring or whatever. I remember a program I did that was the Scythian Suite, Rite of Spring and a Tchaikovsky, The Sleeping Beauty or Swan Lake. It was all Russian, from the Romantics to Prokofiev. When we thought about doing that concert, there was some suspicion about it. Are you crazy? Are you really going to do it? And it was one of the best concerts I think we’ve done there.

Another thing that I think was very important at that time was the recording. We did Beethoven’s Ninth Symphony. It was the first recording the city had done at the time.

PREU: It was also my first orchestra, and I have 15 or so years to draw memories from. I’m like a malfunctioning computer where a lot of memories just come back randomly. I remember our Carmina Burana and ... Mahler’s Third.

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I loved when we branched out and did the adventurous concerts. When we went to the Big Easy [the current Knitting Factory]. I have great memories of our Concerts in the Parks. The opening of the Fox was of course a big deal; that was phenomenal.

LOWE: I started in September 2019, right before the lockdown. There were a bunch of concerts we did pre-lockdown — a very enjoyable performance with the chorus of the first and second suites of Daphnis et Chloé.

But I think about some of the work we did in lockdown, when we came and we filmed a lot of digital concerts. Although the audience wasn’t there — the magic ingredient wasn’t there — it was this real feeling of carving new ground. Nobody had done this anywhere before. We’d never had to do concerts without an audience. Figuring that out and putting all that together, that was a huge project. I really, really enjoyed that. Also, frankly, the relief of being able to make music again after a year of total silence, that was a very kind of magic moment. I remember the first rehearsal we did, the first note sounding for that project. It was very emotional.

WHAT ARE SOME OF THE BRIGHT SPOTS AND CHALLENGES YOU FACED AS THE MUSIC DIRECTOR AT SPOKANE SYMPHONY?

MECHETTI: I’m sure it’s not much different than what it is today. The positive is the high quality of the orchestra for the size of the budget we have and the size of the community we have. And the difficulty is exactly the budget itself.

But it’s always been a case that Spokane has always been an example of an orchestra that, even within a smaller city, can think big. It’s a model that many orchestras actually envy.

PREU: In terms of highs and lows, I think the absolute low was the strike and how that was handled. When personnel issues and organizational issues come to basically a grinding halt for quite a while, everybody suffers. And so coming back out of that that was really, really tough.

There are plenty of highs, though. First, all this stuff that we did for the first time: the concerts at the Big Easy, Symphony with a Splash, the concerts at Arbor Crest. We did a series of contemporary concerts where the orchestra and the audience would sit on stage. All these adventurous things. I was really, really proud of the organization’s willingness to try new things.

The other high was the opening of the Fox. That was a game-changer for the symphony. Playing at the Opera House just limited the artistic potential of this group. Being at the Fox meant double performances of the classics. So we have two shots at the same program. That makes a big difference. The second performance on Sunday afternoon is always different, and usually better than the first one. And just the acoustics of the Fox were very conducive to really working on music excellence. Really exploring all the wide palette the orchestra has for a sound.

LOWE: Adding on to that, it’s actually quite rare that a symphony gets to rehearse and perform in the same hall. That is a luxury. It becomes part of the personality of the orchestra. When they know that they can rely on how they listen in the hall or how they hear, they have a much better feeling of how they’re going to sound out in the hall. And then you end up with this very rare thing where the hall and the orchestra start to develop a kind of symbiotic relationship.

Running a symphony orchestra is really like walking a tightrope blindfolded whilst juggling knives. It is an extraordinarily complicated, difficult job. You can never quite predict what’s going to come around the corner. A little bit unusually for orchestras in America, our model is inverted. Most symphonies’ [finances] are like 60/40 donated/earned. We’re 60/40 earned/donated. So that meant that when the pandemic hit, it hit us financially harder than some other organizations.

Symphony orchestras are evolving. I think there’s a model from the 1950s, which was your town has a symphony orchestra, and you’re really damn lucky to come and hear us and pay your money. And now I think that has to be inverted — we’re a community organization who happens to do that through giving concerts. You can see different orchestras are embracing that, and some orchestras are resisting that. And the ones that embrace that are really doing fantastically well, and they become an integral part of the community.

I do love the idea that all three living music directors of the Spokane Symphony are appearing in the same season. And I think that that’s a really nice thing. Obviously, we were supposed to do this for the 75th anniversary, but, you know, COVID had other plans. Now we can finally do it in one season. That’s a very special thing for the orchestra. n The Alzheimer’s Association Walk to End Alzheimer’s® is full of flowers, each carried by someone committed to ending the disease. It’s time to add your flower to the fight. Take the first step and register today!

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SEPT. 30

IRON MAIDEN

For metalheads, Iron Maiden’s upcoming “The Legacy of the Beast” tour should be a glorious nightmare. The legendary English rockers have been near the top of metal’s pantheon for almost 50 years now, and this career-spanning, two-hour spectacle concert features extravagant set pieces, pyrotechnics and, of course, representations of the band’s zombie-esque mascot, Eddie. Aged necks might not be ideal for headbanging, but fans can certainly throw up their devil horns. Spokane Arena, 7:30 pm, $42-$225, spokanearena.com (SETH SOMMERFELD)

SEPT. 30

THE FRONT BOTTOMS, THE JOY FORMIDABLE

This alternative rock pairing might not be the most natural fit, but it should make for a super fun show. The Front Bottoms have built an ultra-dedicated emo audience by belting out scrappy indie folk punk tunes with unvarnished emotional vulnerability. On the other hand, Welsh rock act The Joy Formidable puts on grand live shows as spitfire singer/guitarist Ritzy Bryan leads her band in crafting a melodic pop rock approach to swirling shoegaze noise. Together, the bill marries sing-alongs and headbanging in an idealized manner. Knitting Factory, 8 pm, $30, sp.knittingfactory.com (SS)

OCT. 2

CHVRCHES

We all went to some dark places in COVID times, but few artistically utilized that mindset like Scottish synth-pop trio CHVRCHES. The group made its excellent 2021 album Screen Violence at a pandemic distance, but the band’s haunting melodic melancholy and youthful yearnings feel fully cohesive. Singer Lauren Mayberry’s fears of a world centered on screens and the alienation that fosters are laid bare over an array of catchy pop tracks. Expect a jubilant — if slightly dark — dance party when CHVRCHES holds mass at the Knitting Factory. Knitting Factory, 8 pm, $33-$35, sp.knittingfactory.com (SS)

28 INLANDER FALL ARTS GUIDE 2022

OCT. 8

MATT MITCHELL MUSIC CO.: RAMONA ALBUM RELEASE SHOW

Matt Mitchell has been a fixture in the local music scene for a while now, leading the band Trego (formerly Folkinception), and in 2019 he began exploring his own sonic realms with Matt Mitchell Music Co. On his new album, Ramona, the singer-songwriter takes his solo material in a slightly new direction. The 10-song collection moves away from acoustic folk to hop into the parallel lane of twangy American rock. It’s Mitchell’s second release of 2022, following the EP Captive of the Mind, so there’ll be plenty of fresh songs on display for this album release show. Lucky You Lounge, 8 pm, $12-$15, luckyyoulounge.com (SS)

OCT. 14

A DAY TO REMEMBER, THE USED

People may be used to entering Spokane’s new indoor sports venue the Podium in order to break a sweat. While the athletic attire will be far less abundant, the same should hold true when the Podium takes its first crack at becoming a concert venue starting this fall. The first show announced for the space was a bill featuring the metalcore/pop punk hybrid sound of A Day to Remember and screamo standouts the Used. Doing laps around the mosh pit might be a shorter distance than around the track, but it’s a workout nonetheless. The Podium, 6 pm, $50-$70, thepodiumusa.com (SS)

OCT. 18

JUDY COLLINS

It’s hard to contextualize the true breadth of Judy Collins’ career, but here’s a tidbit: The folk icon earned a Grammy nomination for her 2017 album, Silver Skies Blue, 42 years after her most recent previous Grammy nomination… which she received 26 years into her career. Her soaring voice has made hits out of songs by Joni Mitchell and Stephen Sondheim, and her version of “Amazing Grace” has been preserved by the Library of Congress. Collins’ voice is still ringing true at age 83, garnering almost universally positive reviews with the 2022 release of her 29th album, Spellbound. Bing Crosby Theater, 8 pm, $35-$99, bingcrosbytheater.com (SS)

OCT. 29 & 30

THE MUSIC OF HARRY POTTER & OTHER HALLOWEEN FAVORITES

Although not inherently spooky, Harry Potter movies are a go-to Halloween watch for plenty of ghouls and goblins. John Williams, composer of the films’ scores, has a way of transporting audiences straight into the wizarding world, through Diagon Alley and, of course, to the Great Hall of Hogwarts. The Spokane Symphony is sure to conjure up some magic and plenty of fun at this annual show. Costumes are not required, but where’s the fun in that? This concert is for everyone, Slytherins and Hufflepuffs alike. Throw on a robe and discover the wondrous world of Harry Potter all over again. Martin Woldson Theater at the Fox, Sat at 7:30 pm, Sun at 3 pm, $25-$64, spokanesymphony.org (MADISON PEARSON)

OCT. 30

NIGHT OF THE ROCKING DEAD

Outside of horror movies and haunted houses, the other great Halloween entertainment once you’ve aged out of trick-or-treating is the array of cover band concerts. Northern Quest gets in on the seasonal action with a bill featuring three all-female metal tribute acts. Thundherstruck brings the classic hard rock riffs of AC/DC, Paradise Kitty welcomes you to the jungle with Guns N’ Roses hits, and Madame Ozzy offers her best interpretation of the Prince of Darkness, Ozzy Osbourne. Northern Quest Casino & Resort, 7:30 pm, $20-$30, northernquest.com (SS)

NOV. 4 MAITA

On I Just Want to Be Wild for You — one of 2022’s best albums — Maria Maita-Keppeler is yearning. What exactly for varies over the course of 11 tracks, which only makes the Portland-based indie rock singer-songwriter’s sonic dexterity seem more elite. Songs range from hyper-rock overthinkers to twangy odes to sarcastic “love” songs about her phone, and all the while her razor-sharp wit and composition variety shines through. After a stellar visit to Lucky You in the summer, MAITA returns for another dose of wild musical longing. Lucky You Lounge, 8 pm, $12-$14, luckyyoulounge.com (SS)

NOV. 9

SMASHING PUMPKINS, JANE’S ADDICTION, POPPY

The late-’80s/early-’90s alt-rock boom still survives, as this double bill makes evidently clear. Led by the mercurial Billy Corgan, Smashing Pumpkins created some of the era’s most indelible hits that still hold up decades later (“1979,” “Bullet with Butterfly Wings,” “Tonight Tonight,” etc.). Jane’s Addiction started out as edgy outsider artists only to take that freaky style mainstream with the Lollapalooza festival and tunes like “Jane Says” and “Been Caught Stealing.” (Make sure to show up early, as the show’s opener, Poppy, serves up a sugar-coated Hot Topic-friendly metalcore spectacle.) Spokane Arena, 6:30 pm, $49-$779, spokanearena.com (SS)

NOV. 10

WALKER HAYES

Even if you feel like Walker Hayes’ smash hit “Feels Like” (aka “The Applebee’s Song”)... ummm… feels like the nadir of modern lowestcommon denominator hyper-consumerist country with its advertorial chorus name-checking of Applebee’s menu items and all the wit of someone who named his album Country Stuff, there’s no denying there’s a massive audience for his reheated chain-restaurant quality songwriting. For Hayes’ fans, his stop at Spokane Arena is sure to be a country fried party. Spokane Arena, 7 pm, $35-$259, spokanearena.com (SS)

NOV. 10

THE COMMODORES

There have been a lot of Commodores over the years, most notably Lionel Ritchie, who masterfully piloted the longstanding musical group into the ’70s and early ’80s before going solo. Likewise for several other Commodores, but the core sound stitching together R&B, pop and funk has endured. So have three longtime band members who will be bringing the hits to Worley in November: Walter “Clyde” Orange, James Dean “JD” Nicholas, and William “WAK” King, who is partially responsible for randomly picking the band’s name when they first formed. And if the band doesn’t sound exactly like it did 40 or 50 years ago, chances are your hearing isn’t what it used to be either. Coeur d’Alene Casino & Resort, 7 pm, $50-$70, cdacasino.com (CARRIE SCOZZARO)

NOV. 19

MODEST MOUSE

There’s no indie rock album that captures the Pacific Northwest’s sense of isolation and modernity poisoning the well quite like Modest Mouse’s 1997 underground classic The Lonesome Crowded West. Well before they broke big with “Float On,” the Issaquah-bred band’s best album showcases Isaac Brock at his most lyrically and musically ferocious while still being able to draw out the tender moments of beauty in trailer parks and open spaces. To celebrate The Lonesome Crowded West’s 25th anniversary, the band is touring with a stripped-back four-piece setup to capture the raw, gritty D.I.Y. spirit of those glorious early days. Knitting Factory, 8 pm, $203, sp.knittingfactory.com (SS)

DEC. 4

WILD PINK

Online music publication Pitchfork compared Wild Pink’s 2021 album A Billion Little Lights to a cross between Death Cab for Cutie and War on Drugs. That alone should pique indie rock dads’ interest, but there’s more — some rock critics who’ve heard the Brooklyn group’s upcoming album ILYSM have compared it to Wilco’s classic record Yankee Hotel Foxtrot. There’s a delicate grace to early singles like “Hold My Hand” and “ILYSM,” which should make for a magical evening of hushed indie rock beauty in the intimate confines of Lucky You. Lucky You Lounge, 8 pm, $16, luckyyoulounge.com (SS) n

VERY SPECIAL GUESTS

TONIGHT • SPOKANE ARENA