Digital Series: Symphony Orchestra: Beethoven Symphony no.4, Mvt. 1 

Tuesday, May 26, 2020 - 4:00pm
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Students and faculty of the School of Music performance studios present music from across the ages in this digital-only concert series, special for Spring 2020. 

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Beethoven: Symphony no.4, op.60, B-flat major, Mvt.1
University of Washington Symphony Orchestra
David A. Rahbee, conductor

Program Note
The Beethoven symphonies are the cornerstone of the orchestral repertoire, and THE reason why we have public orchestral concerts as we know them today. In the years following Beethoven's death, Vienna Court Opera musicians organized public orchestral concerts to perform his symphonies, eventually forming the Vienna Philharmonic. They are such important pieces for a variety of reasons. Each one reaches further, not only in scope and form, but they also push the limits of what was humanly possible for the musicians and their instruments, and they embody the strong will of his philosophical beliefs and ideals. This was radical on all fronts, and paved the way for much of what followed for years to come. The raw energy in his music is unlike anything else before his time. I believe all orchestral musicians, professional or not, should have at least some familiarity with all nine of them...ideally, to play them all, but if not, at least to play several. I always make an effort to begin each UW Symphony season with something by Beethoven, as his music is one the best vehicles for teaching and learning in the orchestral setting, for all the reasons above and also beyond. —David Alexander Rahbee
This performance was recorded on November 1, 2019, at Meany Center for the Performing Arts.


Director Bio

David Alexander Rahbee

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, and a fellowship the Acanthes Centre in Paris in 2007. 

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, the Boston Youth Symphony Orchestras, and Rhode Island Philharmonic Youth Orchestras. He has served on faculty of the Pierre Monteux School as Conducting Associate, has been resident conductor of the Atlantic Music Festival in Maine 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 conductor of the Fidelio Chamber Orchestra in Cambridge, Massachusetts, selecting its talented young members from Harvard University, the New England Conservatory, Boston University, The Boston Conservatory, and the Longy School.

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 arrangements of various music for brass are published by Warwick Music, and his articles on the music of Gustav Mahler have appeared in journals of the International Gustav Mahler Gesellschaft, among others.

Dr. Rahbee has placed among finalists for The American Prize National Nonprofit Competitions in the Performing Arts in the category of Orchestral Programming four consecutive years, including 2nd place for the 2014-15 season of the UW Symphony, and 3rd place for the 2016-17 season. He also was awarded 2nd place in the category of Orchestral Conducting for the 2016-17 season. He is co-editor of Daniels’ Orchestral Music (6thedition) and Daniels’ Orchestral Music Online (DOMO), the gold standard among conductors, orchestral administrators, orchestral librarians as well as other music professionals and students researching for orchestral programming.

He is co-editor of Daniels’ Orchestral Music (6thedition) and Daniels’ Orchestal Music Online (DOMO), the gold standard among conductors, orchestral administrators, orchestral librarians as well as other music professionals and students reseaching for orchestral programming.