Precision, dynamism mark style of Auburn Symphony director candidate Seaton

"If fireworks could conduct," notes anewscafe.com, "they'd be named Seaton." The Luxembourg Times lauds Seaton's "finesse, clarity and precision." Such comments are typical of conductor Scott Seaton's performances since his international debut in 2007 and his many subsequent concerts with orchestras in the Americas and Europe. Now in his seventh season as music director of the North State Symphony in Northern California, Seaton will conduct the Auburn Symphony in concert on Sunday, Feb. 27. He is the last of three candidates vying to become the symphony's new music director and conductor. "I am thrilled to be one of the finalists for this wonderful orchestra!" Seaton said. "We are putting together an energized whirlwind of a program balanced by the beautiful playing of cellist Evan Kahn in the moment of repose." Often compared with the young Leonard Bernstein, Seaton won the 2011 INTERAKTION conducting competition in Berlin and was given the opportunity to conduct an orchestra composed of Germany's top orchestras. The following year, he was a semifinalist in the Sir Georg Solti International Conducting Competition in Frankfurt, Germany, which drew about 500 entrants from around the world. What accounts for such awards? "I believe I have to be the music to inspire the orchestra to work together to play at the top end of their potential," Seaton explained. "This often translates to the perception that I appear very energized on the podium, and I wouldn't argue with that. I love what I do and having to imagine myself into the minds of composers and bring their experiences and ideas to life in a world of sonic art that only exists for a couple of hours – talk about intensity!" From 2012-15, Seaton led the Minot Symphony. After one of the symphony's first Seaton concerts, one reviewer remarked, "In sports, Seaton would be like a great, gifted new coach come to town to set records." Music was significant throughout Seaton's childhood – from his being backstage at the Grand Ole Opry – his stepdad was a singer and songwriter – to starting saxophone in fifth grade as a result of hearing the Pink Panther theme. What set him on a career in music was a moment in high school playing in the Tennessee All-State Band. "We were playing a piece by Chesnokov that has this enormous climax, which then diminishes to nothing at its conclusion," Seaton recalled. "What made it special was that the conductor instructed us to hum the final note. After our soft hum finally dissipated, I remember that an auditorium filled with people could barely breathe from the emotional intensity still lingering throughout the hall. The goose bumps I had in that moment demanded that I create moments like that myself." Seaton cites the "incredible" mentors who helped him on his way to creating such moments. "Finding someone who believes in you is crucial to nurturing talent and the willingness to work hard," he said. "I was so fortunate to have many such mentors throughout my early career. That has definitely influenced my views on the importance of music education and investing in the future generations of musicians." Seaton has earned degrees from the Universite de Montreal, the New England Conservatory and Vanderbilt University. He has also studied at Tanglewood and the National Conducting Institute sponsored by the National Symphony Orchestra. Off the podium, Seaton is an avid cyclist and runner. He recently cycled solo coast to coast from Oregon to Massachusetts. As a marathoner, he qualified and ran in the 2018 Boston Marathon. His running goal now is to qualify for the 2023 Boston Marathon. "Running and cycling balance me and keep me sane, even though at times I may have appeared insane with some of my undertakings," Seaton said. "For example, one time I ran three marathons within six weeks – not something I'd recommend!" An enthusiastic advocate of contemporary music, Seaton has conducted numerous premieres in the past several years. He has curated programs and championed music by living composers and worked with the New York City-based Mimesis, an ensemble dedicated to the music of living composers. He plans his programs with a philosophy of inclusion and relevance. "It is the responsibility of orchestras nowadays to make sure we program music that reflects the times we live in," Seaton said, "and that we champion composers and artists that continue to move us into new and exciting realms of expression and bridge the musical world with our own lives." AUBURN SYMPHONY What: Finalist Series Concert 1II When: Sunday, Feb. 27, 3 p.m. Pre-concert talk at 2:15 p.m., Q&A at 4 p.m. Where: Placer High School Auditorium Tickets: http://www.auburnsymphony.com/ or call 530-823-6683. No tickets sold at door. Proof of Covid vaccine and masks required Concert III Program Scott Seaton, conductor Evan Kahn, cello Barber: The School for Scandal Overture, "fast-paced rhythmic excitement along with very elegant melodic writing." Bruch: Kol Nidrei, "music to make our souls sing, a rich and evocative work." Sibelius: Symphony No. 3 in C major, "a work brimming with nature-inspired melodies, optimistic brass, and a joyously sunny conclusion." - Program notes by Scott Seaton Note from Auburn Symphony Executive Director Anne Brown: We are asking patrons to help us make the decision about our new music director and conductor. The concert program will contain a note section and questions for patrons, and we will seek input via an online survey after each concert. At the end of the series, a short survey will ask for a ranking of the three candidates. The musicians will complete more extensive surveys, of course, as their experience in rehearsal is key for us to understand and evaluate.