Seattle Symphony's new principal flutist, Demarre McGill, and new principal cellist, Efe Baltacigil, talk about taking their careers to new phases in a new town.

Share story

There’s more than one newcomer on the Benaroya Hall stage this season.

The arrival of French conductor Ludovic Morlot to head Seattle Symphony is the biggest news, of course. But the principal chairs for flute and cello have also recently been filled, by Demarre McGill and Efe Baltacigil, respectively.

Both seem raring to go. At the first Masterworks concert of the season, they were among the first onstage, diligently practicing runs before the concert started. And they both had their spotlight moments, especially in the fourth movement of Beethoven’s Symphony No. 3.

Last month, McGill and Baltacigil shared their thoughts about their musical tastes and their new musical home.

This week, save 90% on digital access.

Demarre McGill

Demarre (de-MARR-ay) McGill, the former principal flutist with the San Diego Symphony, replaces Scott Goff, who has retired after 42 years with Seattle Symphony. It’s clear McGill, 36, has been a vital presence on the San Diego music scene, co-founding a vibrant chamber series, Art of Élan, which he’ll continue to codirect.

Still, he couldn’t be more excited about joining the Seattle Symphony at a time of new leadership and new direction.

At his audition, he says, he “definitely felt the energy of the orchestra. … And as I investigated further, there were two things that just blew me away, really impressed me: Morlot’s programming … and how welcoming the musicians have been.”

The warm welcome, he says, has come from members of Seattle’s flute community as well as symphony players.

What does McGill hope to bring to the orchestra?

“I think that like the other principal instruments, the principal flute is an important voice of the ensemble. So I like to say just ‘playing pretty’ is an important part of my job description. But not just that,” he stresses. “It may be about me if I have a solo. Otherwise it’s really about creating a glorious unified wind sound.”

McGill says it has been fascinating to play works he hasn’t performed before. “It doesn’t happen all the time. After you’ve played a number of years in orchestras, you’ll find the same old friends in the repertoire.”

With works by Dutilleux, Varèse, Zappa and Gulda on Morlot’s playlist, McGill has been feeling he’s a student again: “It’s a really nice feeling … studying the recordings and learning the stuff from scratch. That’s very exciting.”

McGill began playing the flute in Chicago when he was 7 years old, starting with a used silver flute his mother gave his father before Demarre was born.

“I loved it immediately,” he says of the flute. “My father just said, ‘Blow across it like you blow across a Coke bottle.’ And that was my first lesson, I guess.”

A flute teacher, conveniently, happened to live around the corner.

“For seven years after that,” he remembers, “I would have these moments of passion. … I couldn’t stop practicing, and then I would just plateau. Then I would have another moment of musical ecstasy, with just a little short piece.”

McGill, for whom the word “upbeat” might have been coined, listens to “absolutely everything” — blues, R&B, hip-hop, jazz, folk music, world music — and a recent comment by Morlot about there being “only good music and not-so-good music” made a special impression on him.

“I read that and thought: This guy is going to be fantastic for the city, because he has the right perspective.”

Regarding the future of the symphony orchestra in a frenzied media culture, McGill is an optimist: “I definitely am not preaching this little doomsday thing at all. I don’t believe that with orchestras.”

He cites the richness of the classical repertoire itself — “The music has been around this long for a reason” — but some of his optimism comes from his experience with Art of Élan in San Diego, where he and his fellow musicians worked inventively to connect with the public.

“Once that connection is made,” he says, “good things will happen. I think that, from what I can see and from what I’ve read, the Seattle Symphony is on the right track.”

Efe Baltacigil

The new principal cellist of the Seattle Symphony, who hails from Istanbul via Philadelphia, is more wry in manner than McGill — but still good company.

For Efe Baltacigil (EFF-ay bahl-ta-ja-GIL), the principal-cello seat — which has been vacant since Joshua Roman withdrew from it in 2008 — is a step up from his post as associate principal cello with the Philadelphia Orchestra. But the attractions of his new position go well beyond its prestige.

When Baltacigil, 33, toured here with the Philadelphia Orchestra in 2007, he instantly fell in love with the city. “It was May or June,” he recalls, “and it was brilliant weather and amazing people and excellent food. And maybe one of the best concert halls in the U.S. In my opinion, Carnegie [Hall] and Benaroya are definitely the top two.”

It wasn’t just the music and the concert hall that appeal to him, however.

“I have to be honest here,” he smiles. “I love sailing and I love windsurfing. That probably is also another very important factor. I’m from Istanbul, which is surrounded by three seas, and I have to have water within my reach.”

Baltacigil is from a family of string players. His middle brother plays double-bass with the Berlin Philharmonic, while his youngest brother studies cello at Istanbul’s Mimar Sinan University Conservatory, where Efe himself graduated before attending Curtis Institute.

Their father is a double-bass player in the Istanbul State Symphony Orchestra. “Also he plays quite a bit of jazz,” Baltacigil says, “so me and my brothers, we spent lots of time in the dark jazz bars, late nights, growing up.”

Baltacigil calculates, with amusing precision, that his own preferred musical diet is roughly 75 percent classical and 25 percent improvisation: “I really do enjoy listening to good-quality jazz and good rock.”

Improvisation, he feels, is “very freeing and quite helpful to any musician. It really adds to your personal vocabulary.” His main improvisational outlet is an “electronic ambient” band called Mico Nonet.

What about Turkish music?

His mother, he says, is after him to do more in that vein. She’s a singer who trained on the kanun, a traditional Turkish string instrument. But Turkish music with its microtones and modes is, he explains, an entirely different animal: “In order to do it justice, you really have to study it hard.”

Like McGill, Baltacigil stresses the importance of having the Symphony’s connection with community be “as deep as possible,” with the musicians becoming “the bridge between the composer and the listeners’ ears and mind.”

When asked how he accomplishes that in the course of his normal day as an orchestral musician, he launches into an amusing tirade.

“Right now, my normal day is not normal. I just got back from Europe, so I wake up at 5:30 — which is not normal for any musician.”

Despite the challenges of jet lag, Baltacigil echoes McGill’s optimism about the Symphony’s prospects.

“With Morlot’s musical sense and programming,” he says, “and with the organization’s marketing, I think great things will happen.”

Michael Upchurch:

Custom-curated news highlights, delivered weekday mornings.