David Alexander Rahbee conducts the University Symphony in a program of music by Beethoven, Bartok and Dvořák. Faculty pianist Cristina Valdés is special guest soloist on Bartók’s Piano Concerto No. 3.
Beethoven: Symphony No.4, Op. 60, B-flat Major
Bartók: Piano Concerto No. 3
Cristina Valdés, piano
Dvořák: The Noon Witch, Op.108
Dvořák: Slavonic Dance Op. 72, No. 2
Pianist Cristina Valdés presents innovative concerts of standard and experimental repertoire, and is known to “play a mean piano.” A fierce advocate for new music, she has premiered countless works, including many written for her. She has performed across four continents and in venues such as Lincoln Center, Le Poisson Rouge, Miller Theatre, Jordan Hall, and the Kennedy Center. Ms. Valdés has appeared both as a soloist and chamber musician at festivals worldwide including New Music in Miami, the Foro Internacional de Música Nueva in Mexico City, Brisbane Arts Festival, the Festival of Contemporary Music in El Salvador, Havana Contemporary Music Festival, and the Singapore Arts Festival.
An avid chamber musician and collaborator, Ms. Valdés has toured extensively with the Bang On a Can “All Stars”, and has performed with the Seattle Chamber Players, the Mabou Mines Theater Company, the Parsons Dance Company, and Antares. Her performances on both the Seattle Symphony’s Chamber Series and [UNTITLED] concerts have garnered critical acclaim, including her “knockout” (Seattle Times) performance of Bartok’s Sonata for Two Pianos and Percussion, and her “arrestingly eloquent performance” of Dutilleux’s Trois Preludes (Bernard Jacobson/MusicWeb International).
Ms. Valdés has appeared as concerto soloist with the Seattle Symphony, Seattle Philharmonic, the Lake Union Civic Orchestra, Johns Hopkins Symphony Orchestra, the Binghamton Philharmonic, NOCCO, Philharmonia Northwest, the Eastman BroadBand, and the Stony Brook Symphony Orchestra, amongst others. In 2015 she performed the piano solo part of the Ives 4th Symphony with the Seattle Symphony under the direction of Ludovic Morlot, which was later released on CD to critical acclaim and made Gramophone’s list of Top 10 Ives Recordings. Other recent recordings include Orlando Garcia’s “From Darkness to Luminosity” with the Málaga Philharmonic on the Toccata Classics label, and the world premiere recording of Kotoka Suzuki’s “Shimmer, Tree | In Memoriam Jonathan Harvey”. She can also be heard on the Albany, Newport Classics, Urtext, and Ideologic Organ labels.
In recent seasons she gave performances of Beethoven’s Piano Concerto No. 3, Bartok’s Piano Concerto No. 3, the world-premiere performance of Carlos Sanchez-Guttierez’s “Short Stories” for piano and string orchestra with the Orquesta de Cámara de Bellas Artes in Mexico City, and the U.S. Premiere of “Under Construction” for solo piano and tape playback by Heiner Goebbels at Benaroya Hall. Last season she was the featured soloist with the Seattle Symphony on two of their “[untitled]” new music series concerts.
Ms. Valdés received a Bachelor of Music from the New England Conservatory of Music, and a Master of Music and Doctor of Musical Arts from SUNY Stony Brook. She currently lives in Seattle where she founded the SLAM Festival, a new music festival dedicated to the music of Latin-American composers, and performs regularly as a member of the Seattle Modern Orchestra. She is an Artist-in-Residence at the University of Washington, and is the Director of the UW Modern Music Ensemble.
David Alexander Rahbee is currently Senior Artist in Residence at the University of Washington School of Music in Seattle, where he is Director of Orchestral Activities and Chair of Orchestral Conducting. He is Music Director and Conductor of the University of Washington Symphony Orchestra and founder of the UW Campus Philharmonia Orchestras. He is a recipient of the American-Austrian Foundation's 2003 Herbert von Karajan Fellowship for Young Conductors, the 2005 International Richard-Wagner-Verband Stipend, a fellowship the Acanthes Centre in Paris (2007), and is first prize winner in conducting from The American Prize national non-profit competitions in the performing arts for 2020. His work at UW has earned national recognition. In 2021 he was praised by The American Prize as “Consistently one of the most courageous and comprehensive [orchestral] programmers working in higher education in the U.S. today…”
Dr. Rahbee has appeared in concert with orchestras such as the Seattle Symphony, RTE National Symphony Orchestra of Ireland, Orchestre Philharmonique du Luxembourg, Kammerphilharmonie Berlin-Brandenburg, Guernsey Symphony Orchestra, Chattanooga Symphony, National Chamber Orchestra of Armenia, Orchestre de la Francophonie, Orchesterakademie der Bochumer Symphoniker, the Dresden Hochschule orchestra, Grand Harmonie, the Boston New Music Initiative, Seattle Modern Orchestra, Orquesta Sinfónica de Loja (Ecuador), Savaria Symphony Orchestra (Hungary), Cool Opera of Norway (members of the Stavanger Symphony), Schönbrunner Schloss Orchester (Vienna), the Whatcom Symphony Orchestra, the Kennett Symphony, and the Divertimento Ensemble of Milan. His collaborations with the Seattle Symphony include assistant conductor for the performance and recording of Ives’ Fourth Symphony, and as guest conductor for their Native Lands project and the North American premiere of Páll Ragnar Pallson's Quake with faculty cellist Sæunn Thorsteinsdóttir. He has collaborated with several prominent soloists such as Sarah Chang, Jon Kimura Parker, Yekwon Sunwoo, Glenn Dicterow and Jonathan Biss. He has been a guest rehearsal conductor for numerous young orchestras, such as the New England Conservatory Symphony Orchestra, The Symphony Orchestra of the Hall-Musco Conservatory of Music at Chapman University, and the Vienna University of Technology orchestra. He has served on faculty of the Pierre Monteux School as Conducting Associate, has been resident conductor of the Atlantic Music Festival and guest conductor at the Hawaii Performing Arts Festival.
Dr. Rahbee was an assistant at the Vienna State opera from 2002-2010. As part of his fellowship and residency at the 2003 Salzburg Festival, Dr. Rahbee was assistant conductor of the International Attergau Institute Orchestra, where he worked with members of the Vienna Philharmonic. He has been selected to actively participate in masterclasses with prominent conductors such as Kurt Masur, Sir Colin Davis, Jorma Panula, Zdeněk Mácal, Peter Eötvös, Zoltán Peskó and Helmut Rilling, and counts Nikolaus Harnoncourt to be among his most influential mentors. From 1997-2001, David Rahbee was founder and conductor of the Fidelio Chamber Orchestra in Cambridge, Massachusetts.
Dr. Rahbeeʼs principal conducting teachers were Charles Bruck and Michael Jinbo at the Pierre Monteux School. He holds a Bachelor of Music degree in violin and composition from Indiana University, a Master of Music degree from the New England Conservatory in orchestral conducting, and a Doctorate of Musical Arts from the University of Montreal in orchestral conducting. He has also participated in post-graduate conducting classes at the Universität für Musik und Darstellende Kunst, Vienna. His brass arrangements are published by Warwick Music, and his articles on the music of Mahler have appeared in journals of the International Gustav Mahler Gesellschaft, among others.
In addition to being awarded first prize in conducting from The American Prize for 2020, he was awarded 2nd place in 2019. He has also placed among winners for five consecutive years for The American Prize Vytautas Marijosius Memorial Award for Orchestral Programming, recognizing his programming with the UW Symphony and its affiliated ensembles for every season since he joined the faculty. The UWSO has also been a finalist in the category of orchestral performance in 2018, 2019 and 2020.
Dr. Rahbee is co-editor of Daniels’ Orchestral Music (6thedition) and Daniels’ Orchestral Music Online (DOMO), the gold standard among conductors, orchestral administrators, orchestra librarians as well as other music professionals and students researching for orchestral programming.