David Kim From this pianist, a lecture-recital, “A Historical Performance: Old Pianos and New Musicianship.” Brechemin Auditorium, School of Music, UW campus, 685-8384, music.washington.edu. $15. 4:30 p.m. Wed., April 9.
Il Divo Everyone’s favorite Euro-crossover-vocal boy band sings Broadway. Benaroya Hall, 200 University St., 215-4747, ildivo.com. $55–$125. 8 p.m. Wed., April 9.
Pacific MusicWorks Vocal and chamber music from the early German baroque. Seattle First Baptist Church, 1111 Harvard St., 800-838-3006, pacificmusicworks.org. $10–$40. 8 p.m. Thurs., April 10.
The Glenn Miller Orchestra Playing on the Seattle Symphony’s Pops series. Benaroya Hall, 200 University St., 215-4747, seattlesymphony.org. $19–$95. 7:30 p.m. Thurs., April 10, 8 p.m. Fri., April 11, 2 & 8 p.m. Sat., April 12, 2 p.m. Sun., April 13.
Following the Ninth Apparently, like Spinal Tap, it’s really big in Japan. Through compelling interviews and archival footage, Kerry Candaele’s reverent doc explores four cultural manifestations of Beethoven’s Ninth Symphony, especially the finale, the “Ode to Joy.” Japan’s adopted it, in performances amateur and professional, as a December tradition, a good omen for the New Year—and as a communal buck-up gesture after the 2011 earthquake. Students in China played it over loudspeakers during the protests that culminated in the massacre at Tiananmen Square. In Chile, with Spanish words, it was a hymn known to all, thus banished by the Pinochet regime, and thus sung defiantly at demonstrations. And in East Germany, it was naturally the musical climax to the celebrations of the fall of the Wall. But it’s this last interviewee who gives the game away, when she tells us the tune of the “Ode” was taught to every East German schoolchild. If the symphony’s adoption as an inspiring message of hope, freedom, and brotherhood makes it a great piece, what does its inclusion in the official state curriculum of a Soviet satellite make it? Candaele’s choice of some relatively cheery segments of the slow movement to back discussions of Chilean secret-police torture and quake footage increases the confusion: If the symphony can mean all this, it can mean anything, and if it can mean anything, it means nothing. The halo this film sets atop the Ninth thereby comes to seem a little simplistic, and misses the real point—the piece’s worth must lie in something other than merely the uses to which it’s put. To get a clearer idea of that worth, you’re better off spending this 80 minutes just listening to the Ninth itself. (NR) GAVIN BORCHERT. SIFF Film Center, Seattle Center, 324-9996, siff.net. $6–$11. 5:30 p.m. Fri., April 11, 1:30 & 5:30 p.m. Sat., April 12, 3:30 & 7:30 p.m Sun., April 13.
Soweto Gospel Choir The Grammy-winning troupe presents colorful harmonies, costumes, and music. (They’ll also hold a free community sing-along at Langston Hughes Performing Arts Center, 104 17th Ave. S., 7 p.m. Thurs., April 10.) Meany Hall, UW campus, 543-4880, uwworldseries.org. $10–$46. 2 & 8 p.m. Sat., April 12.
Orchestra Seattle/Seattle Chamber Singers Bach’s monumental Mass in B Minor. First Free Methodist Church, 3200 Third Ave. W., 800-838-3006, osscs.org. $10–$25. 7:30 p.m. Sat., April 12.
Cappella Romana Son-in-law of Rimsky-Korsakov, classmate of Stravinsky, teacher of Shostakovich: Maximilian Steinberg (1883–1946) was surrounded by three generations of musical fame without ever quite achieving it himself. Portland-based choir Cappella Romana calls his Passion Week “the last major sacred work composed in Russia after the imposition of communism,” which explains why it had to be published outside of the country, in Paris in 1927, and was never performed there. Few copies survived, but one was recently given to music director Alexander Lingas, who will lead the choir in the work’s first modern-day performances this weekend. (Thanks to Lingas’ revival efforts, including travel to St. Petersburg to study Steinberg’s manuscript, a CD recording and new critical edition are planned.) In the work’s 11 movements, Steinberg layered old Russian religious chants into a lush tangle of eight voices, sometimes more; its combination of medieval melodic purity and velvety opulence should appeal to anyone who enjoys the coeval choral works of Rachmaninoff or the contemporary ones of Arvo Part. St. Joseph’s Parish, 732 18th Ave. E., 503-236-8202, cappella romana.org. $22–$41. 8 p.m. Sat., April 12.
Ensemble Caprice From this Montreal-based group, baroque chamber music influenced by Latin American rhythms. Town Hall, 1119 Eighth Ave., 325-7066, earlymusicguild.org. $20–$42. 8 p.m. Sat., April 12.
Bainbridge Chorale With the Bainbridge Symphony, Verdi’s juicy Requiem. Bainbridge High School, 9330 N.E. High School Road, Bainbridge Island, bainbridgeperformingarts.org. $5–$25. 7:30 p.m. Sat., April 12, 4 p.m. Sun., April 13.
Thalia Symphony BEE-THO-VEN’S FIIIFTH! BEE-THO-VEN’S FIIIIIIIIFTH!!!! Town Hall, 1119 Eighth Ave., 800-838-3006, thaliasymphony.org. $15–$20. 2 p.m. Sun., April 13.
Octava Chamber Orchestra Handel and Delalande with the Seattle Bach Choir. Maple Park Church, 17620 60th Ave. W., Lynnwood, 425-743-2288, octavachamberorchestra.com. $5–$15. 6 p.m. Sun., April 13.
Women in Music SEE THE PICK LIST, PAGE 21.
Andre Watts Scarlatti sonatas, Chopin etudes, and much more from this pianist, now starting his second half-century onstage. (He started young.) Meany Hall, UW campus, 543-4880, uwworldseries.org. $50–$55. 7:30 p.m. Tues., April 15.