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The first part of “Partita” that I wrote, which was “Passacaglia” — I wanted to hear the sound of a bunch of voices just kind of chatting gutturally, going into vocal fry and then suddenly exploding into a chord that feels like that, feels like one of those Byrd or Tallis, perfectly voiced chords, just the resonance of it.

It opens with a character piece, a murkily colored Nocturne that lives in the Upside Down of Chopin’s genre-defining works for piano, and reaches a climax in a Baroque-derived Passacaglia, at once august and austere, that leads into a fiendish five-minute cadenza for the soloist.

Noseda fitfully ratcheted up the intensity of the Passacaglia with its implacable 17-bar pattern.

And the passacaglia of the third movement progressed with persuasive momentum.

“Nature Resounds”: Family concert, including Tan Dun’s “Passacaglia: Secret of Wind and Birds,” with Sunny Xia conducting the Seattle Symphony; 11 a.m.