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DECEMBER 2015
A MONTH OF
MASTERPIECES
FAURÉ’S REQUIEM
HANDEL’S MESSIAH
BEETHOVEN’S NINTH
A HOLIDAY
POPS
SPECTACULAR
NEW YEAR’S EVE
C O N C E R T,
COUNTDOWN &
C E L E B R AT I O N
THE LULLABY
PROJEC T
the Hearthstone
Call us for more details: 206-517-2213
Email: sgregory@hearthstone.org Web: www.hearthstone.org
Address: 6720 E Green Lake Way N, Seattle, WA 98103
Find us on Facebook: https://www.facebook.com/HearthstoneRetirementLiving
Active Retirement at Green Lake
VILLAGE COVE
Call us for more details: 206-517-2110
Email: villagecove@hearthstone.org Web: www.villagecove.org
Address: 6850 Woodlawn Ave NE, Seattle, WA 98115
Find us on Facebook: https://www.facebook.com/villagecovelivinglifeatgreenlake
I N T H I S I SS U E
DECEMBER 2015
4 / CALENDAR
Plan your next visit
6 / THE ORCHESTRA
Meet the musicians
8 / NOTES
See what’s new at the
Seattle Symphony
10 / FEATURES
The Lullaby Project
A Conversation with Ann P. Wyckoff
17 / CONCERTS
Learn about the music
you’re here to hear
54 / GUIDE
Information on Benaroya Hall
55 / THE LIS(Z)T
Seen and heard at the
Seattle Symphony
DECEMBER 2015
A MONTH OF
MASTERPIECES
FAURÉ’S REQUIEM
HANDEL’S MESSIAH
BEETHOVEN’S NINTH
A HOLIDAY
POPS
SPECTACULAR
NEW YEAR’S EVE
C O N C E R T,
COUNTDOWN &
C E L E B R AT I O N
THE LULLABY
PROJEC T
ON THE COVER: New Year’s Eve by
Brandon Patoc Photography
AT LEFT: The Northwest Boychoir
(p. 39) in A Festival of Lessons & Carols
by VanHouten Photography
EDITOR: Heidi Staub
COVER DESIGN: Helen Hodges
© 2015–2016 Seattle Symphony.
All rights reserved. No portion of this
work may be reproduced in any form or
by any electronic or mechanical means
without written permission from the
Seattle Symphony. All programs and
artists are subject to change.
encore art sseattle.com 3
CALENDAR
SUNDAY
MONDAY
TUESDAY
WEDNESDAY
THURSDAY
DECEMBER
7:30pm Fauré
Requiem
1
2pm Fauré Requiem
2pm SHOWTUNES:
The Washingtonians!
7:30pm Seattle
Men’s Chorus
7:30pm Pacific
Lutheran University
presents A Christmas
Invitation
8pm Live @ Benaroya
Hall: Portland Cello
7:30pm Seattle
Men’s Chorus: Home
for the Holidays
2pm The Coats:
Annual Holiday
Show
7:30pm Northwest
University presents
Christmas Traditions
7
8
7:30pm Ensign
Symphony & Chorus:
Alleluia
7:30pm Ensign
Symphony & Chorus:
Alleluia
FRIDAY
SATURDAY
7:30pm Seattle
for the Holidays
11am Family Concerts:
The Snowman
3
4
10:30am Tiny Tots:
Holiday Hooray!
7:30pm The Blind
Boys of Alabama:
Talkin’ Christmas!
8pm Fauré Requiem
8pm SHOWTUNES
presents The
Washingtonians!
5
9:30, 10:30 &
11:30am Tiny Tots:
Holiday Hooray!
7:30pm Mason
Ridge presents
David Templeton
2 & 8pm Holiday
Pops
9
10
11
14
7:30pm Seattle
for the Holidays
7:30pm Seattle
for the Holidays
20
15
22
7pm Byron
Schenkman & Friends:
Anna Magdalena
Notebook
16
17
18
19
23
24
25
26
7:30pm Beethoven
Symphony No. 9
27
2 & 7:30pm The
Coats: Annual
Holiday Show
7:30pm A Festival of
Lessons & Carols
21
7:30pm Live @
Benaroya Hall: The
Brian Setzer Orchestra
12
1 & 8pm Handel
Messiah
7:30pm The Coats:
Annual Holiday
Show
8pm Handel Messiah
13
2pm Handel Messiah
10am Holiday
Musical Salute*
2
THE SNOWMAN
ON THE DIAL: Tune in to
Classical KING FM 98.1 every
Wednesday at 8pm for a
Seattle Symphony spotlight and
the first Friday of every month
at 9pm for concert broadcasts
8pm Holiday Pops
6
2pm Holiday Pops
December
& January
BRIAN SETZER
28
29
JANUARY
9pm New Year’s Eve:
Concert, Countdown
& Celebration
30
2pm Beethoven
Symphony No. 9
31
8pm Beethoven
Symphony No. 9
NEW YEAR’S EVE
1
12:30pm Founders
Circle Silver
Luncheon*
2
8pm Rachmaninov
Piano Concerto
No. 2
7:30pm
Rachmaninov Piano
Concerto No. 2
3
4
5
6
7
12:30pm
Watjen Concert
Organ Recital
Demonstration
10
8
8pm Handel Royal
Fireworks Music
11
12
13
4pm Artbeat
presents Forever
Tango
14
7:30pm Mozart &
Haydn
9
8pm Handel Royal
Fireworks Music
15
12pm Mozart &
Haydn
16
2pm Seattle
Philharmonic
Orchestra presents
Four Great ComposerConductors
8pm Mozart & Haydn
17
24
2pm National
Geographic
Live
4pm
Celebrate
Asia
NATIONAL
18 GEOGRAPHIC LIVE
19
7:30pm National
Geographic Live
— Spinosaurus:
Lost Giant of the
Cretaceous
31
SEATTLESYMPHONY.ORG
21
22
23
29
Photo credits:
New Year’s Eve
by Brandon Patoc
Photography; National
Geographic Live by
Nizar Ibrahim
30
7:30pm National
Geographic Live
— Spinosaurus:
Lost Giant of the
Cretaceous
25
LEGEND: Seattle Symphony Events
4
20
26
Benaroya Hall Events
27
28
*Donor Events: Call 206.215.4832 for more information
HOW TO ORDER:
TICKET OFFICE:
The Seattle Symphony Ticket Office is located
at Third Ave. & Union St., downtown Seattle.
Mon–Fri, 10am–6pm; Sat, 1–6pm;
and two hours prior to performances and
through intermission.
HOURS:
FREE PARKING:
When visiting Benaroya Hall to purchase
tickets during regular Ticket Office hours,
you may park for free for 15 minutes in the
Benaroya Hall parking garage. Parking validated
by the Ticket Office.
PHONE:
206.215.4747 or 1.866.833.4747
(toll-free outside local area). We accept
MasterCard, Visa, Discover and American
Express for phone orders.
ONLINE:
Order online using our select-your-own-seat
feature at seattlesymphony.org.
GROUP SALES:
Discounts for groups of 10+. Call 206.215.4818
or email groupsales@seattlesymphony.org.
MAILING ADDRESS:
P.O. Box 2108, Seattle, WA 98111-2108
HOW TO GIVE:
Did you know that about half of the annual revenue
needed to put on the concerts you love comes from
gifts made by donors, sponsors and special events?
Here’s how you can support the Seattle Symphony.
at Meany Hall on the UW Campus
ONLINE:
seattlesymphony.org/give
CORPORATIONS:
206.215.4721
corporatesponsorship@seattlesymphony.org
FOUNDATIONS:
206.215.4838
foundations@seattlesymphony.org
INDIVIDUALS:
206.215.4832
friends@seattlesymphony.org
PLANNED AND ESTATE GIVING:
206.215.4852
plannedgiving@seattlesymphony.org
GARRICK
SPECIAL EVENTS:
206.215.4868
specialevents@seattlesymphony.org
MAILING ADDRESS:
P.O. Box 21906, Seattle, WA 98111-3906
CONNECT WITH US:
OHLSSON
facebook.com/seattlesymphony
twitter.com/seattlesymphony
instagram.com/seattlesymphony
seattlesymphony.org
Pianist plays works by Beethoven, Chopin and Mussorgsky
Inquire about
FREE YOUTH TICKETS
Jan 12
206-543-4880 | uwworldseries.org
SEATTLE SYMPHONY ORCHESTRA ROSTER
Thomas Dausgaard, Principal Guest Conductor
Jeff Tyzik, Principal Pops Conductor
Joseph Crnko, Associate Conductor for Choral Activities
LUDOVIC MORLOT
Harriet Overton Stimson Music Director
Pablo Rus Broseta, Douglas F. King Assistant Conductor
Ruth Reinhardt, Conducting Fellow
NORTHWEST BOYCHOIR
presents
A Festival Of
Lessons &
Carols
A NORTHWEST HOLIDAY TRADITION
DECEMBER 11–22, 2015
Enjoy an enchanted evening of
Christmas music with the
Northwest Boychoir in concert.
Gerard Schwarz, Rebecca & Jack Benaroya Conductor Laureate
FIRST VIOLIN
BASS
TRUMPET
Open Position
David & Amy Fulton Concertmaster
Jordan Anderson
Mr. & Mrs. Harold H. Heath
Principal String Bass
David Gordon
The Boeing Company Principal Trumpet
Emma McGrath
Clowes Family Associate Concertmaster
Cordula Merks
Assistant Concertmaster
Simon James
Second Assistant Concertmaster
Jennifer Bai
Mariel Bailey
Cecilia Poellein Buss
Ayako Gamo
Timothy Garland
Leonid Keylin
Mae Lin
Mikhail Shmidt
Clark Story
John Weller
Jeannie Wells Yablonsky
Arthur Zadinsky
AUDITIO N S F O R BOYS AG ES 6 -9 .
NWBOYCHOIR.ORG | 206.524.3234
1325 1st Avenue I 206.682.0168
University Village
2626 NE University Village Street I 206.528.9969
Bellevue
10036 Main Street I 425.453.1698
Georgetown
5900 Airport Way South I 206.508.4535
franschocolates.com
Open Position
Principal
Supported by David J. and Shelley Hovind
Jeffrey Barker
Associate Principal
SEATTLESYMPHONY.ORG
Ko-ichiro Yamamoto
Principal
David Lawrence Ritt
Stephen Fissel
BASS TROMBONE
Stephen Fissel
TUBA
TIMPANI
Zartouhi Dombourian-Eby
Robert & Clodagh Ash Piccolo
Michael Crusoe
Principal
OBOE
PERCUSSION
Mary Lynch
Principal
Michael A. Werner
Principal
Kathleen Boyer
Gennady Filimonov
Evan Anderson
Natasha Bazhanov
Brittany Boulding
Stephen Bryant
Linda Cole
Xiao-po Fei
Sande Gillette
Artur Girsky
Andrew Yeung
Ben Hausmann
Associate Principal
Michael Clark
Chengwen Winnie Lai
Stefan Farkas
HARP
VIOLA
Laura DeLuca
Eric Jacobs
Elisa Barston
Principal
Supported by Jean E. McTavish
Michael Miropolsky
John & Carmen Delo
Assistant Principal Second Violin
Mara Gearman
Timothy Hale
Vincent Comer
Penelope Crane
Wesley Anderson Dyring
Sayaka Kokubo
Rachel Swerdlow
Julie Whitton
CELLO
Efe Baltacıgil
Marks Family Foundation Principal Cello
Meeka Quan DiLorenzo
Assistant Principal
Eric Han
Bruce Bailey
Roberta Hansen Downey
Walter Gray
Vivian Gu
Joy Payton-Stevens
David Sabee
Valerie Muzzolini Gordon
Principal
ENGLISH HORN
Stefan Farkas
KEYBOARD
CLARINET
Kimberly Russ, piano +
Joseph Adam, organ +
Benjamin Lulich
Mr. & Mrs. Paul R. Smith Principal Clarinet
PERSONNEL MANAGER
E-FLAT CLARINET
Laura DeLuca
BASS CLARINET
Scott Wilson
ASSISTANT PERSONNEL
MANAGER
Keith Higgins
LIBRARY
Eric Jacobs
Patricia Takahashi-Blayney
Principal Librarian
BASSOON
Robert Olivia
Associate Librarian
Seth Krimsky
Principal
Paul Rafanelli
Mike Gamburg
CONTRABASSOON
Jeanne Case
Librarian
Rachel Swerdlow
Assistant Librarian
Mike Gamburg
TECHNICAL DIRECTOR
Joseph E. Cook
HORN
ARTIST IN ASSOCIATION
Dale Chihuly
Jeffrey Fair
Charles Simonyi Principal Horn
Mark Robbins
Associate Principal
Jonathan Karschney
Assistant Principal
Adam Iascone
John Turman
Cara Kizer*
6
TROMBONE
PICCOLO
Arie Schächter
Assistant Principal
Downtown
FLUTE
Geoffrey Bergler
Christopher Olka
Principal
Susan Gulkis Assadi
PONCHO Principal Viola
Handcrafting Artisan
Confections in Seattle
for Over 33 years
Ted Botsford
Jonathan Burnstein
Jennifer Godfrey
Travis Gore
Jonathan Green
Alexander White
Assistant Principal
Judy Washburn Kriewall
SECOND VIOLIN
JO I N TH E N O RTHWES T BOYCHOIR !
Joseph Kaufman
Assistant Principal
MUSIC ALIVE
COMPOSER IN RESIDENCE
Trimpin
HONORARY MEMBER
Cyril M. Harris †
+ Resident
* Temporary Musician for 2015–2016 Season
† In Memoriam
LUDOV I C MORLOT
SEATTLE SYMPHONY MUSIC DIRECTOR
Photo: Sussie Ahlburg
French conductor Ludovic
Morlot is in his fifth season
as Music Director of the
Seattle Symphony. There
have been many highlights
during his first four seasons
in this position, including an
exhilarating performance at
Carnegie Hall in May 2014,
as reported in The New York
Times: “The performance
Mr. Morlot coaxed from
his players was rich with
shimmering colors and
tremulous energy.”
During the 2015–2016
season he leads the
Seattle Symphony in a wide variety of works including the
launch of a two-year cycle of Beethoven symphonies and piano
concertos; Berio’s Sinfonia featuring vocal ensemble Roomful
of Teeth; Messiaen’s Poèmes pour Mi; Shostakovich’s Symphony
No. 4; Mahler’s Symphony No. 1; and Fauré’s Requiem.
Complemented by the Seattle Symphony’s highly innovative
series, Untuxed and [untitled], this season will also see the
release of several more recordings on the Orchestra’s label,
Seattle Symphony Media.
Morlot was also Chief Conductor of La Monnaie, one of
Europe’s most prestigious opera houses, for three years
(2012–2014). During this time he conducted several new
productions including La Clemenza di Tito, Jenůfa and
Pelléas et Mélisande. Concert performances, both in Brussels
and Aix-en-Provence, included repertoire by Beethoven,
Britten, Bruneau, Stravinsky and Webern.
Trained as a violinist, Morlot studied conducting at the Royal
Academy of Music in London and then at the Royal College
of Music as recipient of the Norman del Mar Conducting
Fellowship. Morlot was elected a Fellow of the Royal
Academy of Music in 2014 in recognition of his significant
contribution to music. He is Chair of Orchestral Conducting
Studies at the University of Washington School of Music and
lives in Seattle with his wife, Ghizlane, and their two children.
SEATTLE SYMPHONY BOARD OF DIRECTORS
LESLIE JACKSON CHIHULY, Chair*
Jon Rosen
Secretary*
Kjristine Lund
Vice Chair, Audiences & Communities*
Dick Paul
Vice Chair, Governance*
Marco Abbruzzese
Treasurer*
Woody Hertzog
Vice Chair, Development*
Michael Slonski
Vice Chair, Finance*
DIRECTORS
Ned Laird*
LIFETIME DIRECTORS
David Hovind
Rebecca Layman Amato
Jeff Lehman*
Henry James
Claire Angel
Dawn Lepore
Llewelyn Pritchard
Chair
Sherry Benaroya
Eric Liu
James Bianco
Brian Marks*
Rosanna Bowles
Catherine Mayer
Renée Brisbois
Cookie Neil
Paul Brown
Laurel Nesholm*
Amy Buhrig
Sheila Noonan
Jean Chamberlin
Jay Picard
Larry Estrada
Bayan Towfiq
Nancy Evans
Nicole Vogel
Kathy Fahlman Dewalt
Stephen Whyte*
Judith A. Fong*
Brian Grant
Martin L. Greene
Patty Hall
Jean-François Heitz*
Joaquin Hernandez
Jeff Hussey
Walter Ingram
Nader Kabbani
Elizabeth Ketcham
Ryo Kubota
Stephen Kutz
Richard Albrecht
Susan Armstrong
Robert Ash
William Bain
Bruce Baker
Cynthia Bayley
Alexandra Brookshire
Phyllis Byrdwell
Phyllis Campbell
Mary Ann Champion
Robert Collett
DESIGNEES
David Davis
Robin Denis
President, Seattle Symphony Chorale
Dorothy Fluke
Ryan Douglas
President, WolfGang Advisory
Council
Jean Gardner
Richard Mori
President, Seattle Symphony
Volunteers
James Gillick
Valerie Muzzolini Gordon
Orchestra Representative
Orchestra Representative
David Fulton
Ruth Gerberding
Barbara Goesling
Gerald Grinstein
Bert Hambleton
Cathi Hatch
Ken Hollingsworth
Hubert Locke
J. Pierre Loebel
Yoshi Minegishi
Marilyn Morgan
Isa Nelson
Marlys Palumbo
Sally G. Phinny
Sue Raschella
Bernice Rind
Jill Ruckelshaus
H. Jon Runstad
Martin Selig
John Shaw
Langdon Simons, Jr.
Charles Z. Smith
Linda Stevens
SEATTLE SYMPHONY
FOUNDATION BOARD
OF DIRECTORS
Jean-François Heitz
President
Kathleen Wright
Vice President
Marco Abbruzzese
Treasurer
Michael Slonski
Secretary
James Bianco
Brian Grant
Muriel Van Housen
J. Pierre Loebel
Laurel Nesholm
David Tan
Rick White
* Executive Committee Member
Patricia Tall-Takacs
Marcus Tsutakawa
Cyrus Vance, Jr.
Karla Waterman
Ronald Woodard
Arlene Wright
Pat Holmes
SoYoung Kwon
BENAROYA HALL BOARD OF DIRECTORS
NED LAIRD, President
Mark Reddington, Vice President
Alexandra A. Brookshire
Jim Duncan
Leo van Dorp
Nancy B. Evans, Secretary
Dwight Dively
Richard Hedreen
Simon Woods
Michael Slonski, Treasurer
Fred Podesta
H.S. Wright III
NEWS FROM:
LESLIE JACKSON CHIHULY, BOARD CHAIR
As 2015 comes to a close, I find myself in awe of
everything we have accomplished together this year.
Music is changing lives across our community, and I
thank you — our subscribers, supporters and volunteers
— for making this great work possible.
Photo: Scott Leen
Town Music and
Seattle Arts and Lectures present
We have many achievements to highlight from the
past year. The Sibelius Festival was a true community
celebration; the collaboration with Trimpin resulted in
an unforgettable [untitled] concert; inmates at Monroe
Correctional Complex were deeply moved by the music
that orchestra members shared with them. An astounding 10,000 students participated
in Link Up; students learned to play the recorder, and traveled to Benaroya Hall to
play with the orchestra! The Seattle Symphony Media label received five Grammy
nominations, and John Luther Adams won a Grammy for our commission of Become
Ocean. Our first-ever Piano Competition revealed the next generation of pianists, and
the Opening Night Concert & Gala with Music Director Ludovic Morlot and Artist in
Residence Jean-Yves Thibaudet was simply brilliant.
I am filled with anticipation for what 2016 has in store. The Symphony will continue
to prioritize investment in our youth and immersion in the community. Five free
community concerts are coming up which include side-by-sides with Cascade Youth
Symphony Orchestra, West Seattle Community Orchestra, Garfield High School and
Roosevelt High School. The transformational Lullaby Project (see pages 10–13 to read
more about this project), Link Up and prison visits are expanding to reach more local
children and adults. We are proud to provide and grow these and other programs and
partnerships which impact our community so profoundly.
As you consider your year-end charitable giving, I hope you will include the Seattle
Symphony in your plans. Give the gift of music with concert tickets or a Seattle
Symphony recording, or make a gift in honor of someone you love. Every donation and
purchase you make supports the music we all cherish.
The journey we are all on is extraordinary, and I am incredibly grateful for the role you
play. It takes a generous community of people to deliver the outstanding music that
touches so many lives in our region.
Leslie Jackson Chihuly
Seattle Symphony Board Chair
February 25
Featuring
Joshua Roman,
Tracy K. Smith,
and
Jessica Rivera
SCIENCE
TOWN HALL
ARTS & CULTURE
COMMUNITY
CIVICS
TICKETS and INFO at
WWW.TOWNHALLSEATTLE.ORG
8
SEATTLESYMPHONY.ORG
NOTA BENE
{
{
The music you are about to enjoy is made possible by caring
supporters who donate to the Seattle Symphony. Please consider becoming a Friend
of the Seattle Symphony with your year-end gift today. You’ll receive exclusive donor
benefits and enjoy every concert even more, knowing you helped bring it to the stage.
Make your gift today at seattlesymphony.org/give.
A SEASON OF GIVING
{
{
‘we do it to one another,’
Poetry and
Performance
NEW FACES The Seattle Symphony welcomed two new musicians in October, both Seattle
natives. Jeffrey Barker joins as Associate Principal Flute, having played as Principal Flute
of the Boise Philharmonic since 2009. Jonathan Karschney continues with the Seattle
Symphony as Assistant Principal Horn, a position he has held on a temporary contract from
2010 to 2015. We’re glad to have you, Jeffrey and Jonathan!
FOOD DRIVE
The Seattle Symphony is partnering with
Food Lifeline for the 16th year to host a
food drive during the Messiah concerts
on December 18, 19 and 20.
Food Lifeline plays an active role in
finding creative solutions to stop hunger
in our region, including redirecting
good food from manufacturers, farmers,
grocery stores and restaurants that
might otherwise go to waste. They
provide 88,000 meals a day to local
food assistance programs, which,
combined with their policy work, creates
a sustainable approach to stopping
hunger. They have 275 members in their
food program network that include food
banks, food pantries, hot meal programs,
shelters and after-school programs.
Food drives are an important source
of diverse, non-perishable foods that
Western Washington’s food banks rely
on every day. We invite you to bring
non-perishable and canned food to the
performances of Handel’s Messiah on
December 18, 19 and 20.
Thanks for joining our efforts to end
hunger in our community!
For more information about Food Lifeline
and how to help, visit foodlifeline.org.
THE LULLABY PROJECT:
Making Music at Mary’s Place
Mothers and children of Mary’s Place at the Creative Workshop.
By KRISTIN SCHNEIDER & THOMASINA SCHMITT
T
he old building without a sign on the door disguises
any hint of the hurried preparations taking place inside.
On one side of the main room, rectangular tables are
covered with boxes of pastries and carafes of coffee. The
empty gray walls are lined with stacks of tan metal chairs, now
being arranged into a large circle around the perimeter of the
room. Before long, people begin filtering in until the room is
humming with excited chatter with mostly women ranging from
20-somethings to early 40s. Children run in circles, screaming,
hands sticky with doughnuts and orange juice, giving
sharp contrast to most of the adults in the room who seem
apprehensive and tired, clinging tightly to their cups of steaming
coffee. When 9:30 rolls around, the adults find their seats as the
children are led downstairs to play, and the first session of the
Lullaby Project begins.
The Lullaby Project is an intensive Community Connections
project in which mothers in challenging circumstances come
together with specialized Seattle Symphony teaching artists
and musicians to write, record and perform lullabies for their
children. During this Creative Workshop, the first session of
10
SEATTLESYMPHONY.ORG
the project, Seattle Symphony teaching artists and staff joined
the staff and mothers of Mary’s Place, a homeless shelter for
families in downtown Seattle. The day began with breakfast,
introductions and sharing of bedtime rituals. After these
introductions the teaching artists paired off with the mothers to
begin writing lullabies for their children. It was an intense day, but
by the end of it, the mothers reported feeling relaxed, comforted
and accomplished — a huge contrast to the stressed and
overwhelmed feeling they reported at the beginning of the day.
A few short months later, after the lullabies had been arranged for
small ensembles and recorded by Seattle Symphony musicians
and teaching artists, Mary’s Place mothers and Seattle Symphony
teaching artists and musicians gathered together once again
for the Sharing Session to listen to the recordings and reflect on
their experiences. As this Sharing Session unfolded, a young new
mother, Emily, sat quietly in her chair, holding her son of only a
few months. At the start of the project, her baby had remained
in his stroller, and the two had interacted very little with one
another. What a change could be seen today, as they were entirely
absorbed with one another, their eyes locked, engaged in a
conversation that the rest of us could only guess at. When
asked about her experience of the Lullaby Project, she said:
“I think that doing this project has helped with
stability for both me and my son. Realizing that
here’s the situation that we’re in… but that’s okay.
Because at least we’re together. And we have each
other. And that’s what’s important. It’s helped me to
focus on what it’s really about. It’s given me a focus,
a goal to work toward. He’s my whole world right
now. I can be stressed and pulling my hair out, and
I just hear his cry, and I know that what I’m stressed
about isn’t important. What’s important is taking
care of my son.”
Throughout the Lullaby Project (the creative workshop,
recording session, sharing session and final concert), the
teaching artists and musicians were able to put into words
and into song each mother’s individual stories and hopes
for the future. The mothers and teaching artists, who were
strangers at the start, were able to discuss, maybe for the
first time, such tender topics of safety, loving a child, what
it is to be a parent — all within the safety of a simple song.
And our teaching artists and musicians were there to listen,
to witness, to come alongside.
The world is big and scary
But there’s no courage without fear.
Nothing in life worth having
Ever comes without a fight.
Hush little baby, child that holds my heart.
Don’t shed a tear, you’re safe, Mother’s here.
– Emily’s Lullaby for C.J.
The Mary’s Place mothers are not the only ones who have
been deeply impacted. Seattle Symphony musicians,
teaching artists and staff along with staff from Mary’s Place
have also been moved by this powerful project.
“I wasn’t expecting this project to be so meaningful to me,”
shared Seattle Symphony flute and piccolo player Zartouhi
Dombourian-Eby. “Not only did it raise our own awareness,
it’s a beautiful reminder that music is a powerful way to
serve the community.”
Mary’s Place Executive Director Marty Hartman commented
on how this project has helped strengthen the partnership
between Mary’s Place and the Seattle Symphony.
The Symphony’s initial contact with Mary’s Place began
through a suggestion from an anonymous major donor
to the Symphony. “Our donor family not only supports
On right: Mothers with Seattle Symphony teaching
artists and musicians at the Creative Workshop.
Photos: Tracey Salazar
THE LULLABY PROJECT, continued
us financially,” says Jane Hargraft,
Seattle Symphony Vice President of
Development, “but helps us make
meaningful connections in the
community.”
The partnership with Mary’s Place has
become so strong that they held their
recent fundraiser Brunch for Beds at
Benaroya Hall. The program featured two
live lullaby performances while families
shared their stories of homelessness
and how these lullabies helped them get
“it’s a beautiful
reminder that
music is a
powerful way
to serve the
community.”
through. Seattle Symphony cellist Joy
Payton-Stevens also spoke, sharing that
programs like the Lullaby Project provide
the opportunity to remember why music
is so vital and to see first-hand how
transformative it can be.
This project has also raised the bar
for Seattle Symphony teaching artists.
Several hours of specialized training
goes into preparing the teaching artists
who work directly with the mothers to
help them write their lullabies.
The Seattle Symphony will partner
again with Mary’s Place for this season’s
Lullaby Project. The project will culminate
with a celebration concert which will take
place the weekend of Mother’s Day on
Saturday, May 7, at 3pm in Soundbridge
Seattle Symphony Music Discovery
Center. This free concert will feature live
performances of all the newly created
lullabies and is open to the public.
On right: The Lullaby Project’s
final concert in May 2015.
Photos: Tracey Salazar
12
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COMMUNITY CONNECTIONS
The Lullaby Project falls under the larger
Community Connections program,
the Symphony’s commitment to
building bridges with diverse nonprofit
organizations throughout the Puget
Sound region. This program provides
free access to Symphony concerts,
customized small-group workshops, and
mainstage co-creation projects with over
50 local partner organizations serving
the social services, health and welfare,
military, youth development, seniors and
cultural heritage.
For more information about the
Lullaby Project or Community
Connections, please visit
seattlesymphony.org/inthecommunity,
email education@seattlesymphony.org
or call 206.336.6650.
GET INVOLVED
Special endeavors like the Lullaby
Project are only possible through
donations to the Seattle Symphony made
by people like you. Gifts of every amount
make a difference.
seattlesymphony.org/give
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Photo: Brandon Patoc Photography
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A conversation with
Ann P. Wyckoff
The Seattle Symphony’s 2015–2016 Opening Night Gala
paid tribute to local philanthropist Ann P. Wyckoff. Ann
is an ardent supporter of arts and education in the Puget
Sound, and she and her family have played a significant
role in building the cultural landscape of our city.
We sat down for a conversation with Ann to learn more
about her family, her approach to philanthropy, and what
makes Seattle such a unique place to live.
You and many of your family members are Seattle residents. Did
you ever consider living in a different part of the country?
I’m a third-generation Northwesterner, but my family felt that it
was a good thing to go East to school, although my dad wasn’t
crazy about me going there all through college. He was afraid I’d
meet someone, marry and live there the rest of my life. I went to
a junior college in Boston, then Stanford — I always wanted to go
14
SEATTLESYMPHONY.ORG
to Stanford, it was where my parents had met — and then to the
University of Washington, where I got my graduate degree in social
work.
I do have to laugh because my own children — I have one son and
five daughters — went all different places to school and yet they’ve
all come back here too. People would say, “you must be the most
wonderful parents,” but I think it has to do with the atmosphere
this city provides. The fishing, the skiing, the hiking in this part of
the country; that has brought them back here. I am just thrilled that
they’re here.
You have long been a philanthropic leader in this city. What
advice would you give to the next generation who will follow in
your footsteps?
You learn by example. It’s a credit to my parents and my
grandparents. They’re my source of inspiration. My grandfather was
very interested in developing the city. I do think I’m blessed.
“Seattle is a
forward-looking
city — people
here have a sense
of ownership and
we take pride
in showing off
our city.”
This new generation has to have a
personal interest in an issue. They need
encouragement. Introduce them to people
who are making a difference. You can’t
just say, “this is what you do to make an
impact.” You have to be inspired. You have
to learn by doing. Like a family that grows
and learns together.
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commitment to the next generation of music lovers.
CLASSICAL KING FM
You have to have a vision and a passion for
what you’re doing. People have to feel like
they have a stake.
SERIES
What do you think makes Seattle such a
unique place?
The people are willing to do what needs
to be done. It gives them pleasure to see
the city grow. Seattle is a forward-looking
city, and it’s big enough that there are a lot
of points of view about how to do things.
People here have a sense of ownership
and we take pride in showing off our city to
people.
Why is the Seattle Symphony so important
to you?
Being in the hall listening to the music of
the Seattle Symphony gives me immense
joy, and the important community and
educational programs are the icing on the
cake. Having a world-class orchestra is
crucial to our great city’s stature. I am so
proud to support the Seattle Symphony.
The Seattle Symphony thanks Ann for
her vision, leadership and generosity!
Photos facing page: Top left: Ann P.
Wyckoff at the Seattle Symphony
2015–2016 Opening Night Gala. Top
right: Ann P. Wyckoff with Board Chair
Leslie Jackson Chihuly at Opening Night.
Lower right: Ann P. Wyckoff conducting
the orchestra with Music Director Ludovic
Morlot during a rehearsal in 2014.
More classical music and music resources for families at KING.org
SP O N SO R AD
December 2015
Volume 29, No. 4
Paul Heppner
Publisher
Susan Peterson
Design & Production Director
CHEEKY
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Shaun Swick, Stevie VanBronkhorst
Production Artists and Graphic Design
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Tim Schuyler Hayman
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Associate Online Editor
Jonathan Shipley
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New Zealand Opera 2010 The Marriage of Figaro, © Neil Mackenzie
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Associate Publisher
mozart
THE
MARRIAGE
OF
FIGARO
jan 16-30
MCCAW HALL
206.389.7676
SEATTLEOPERA.ORG
A DELIGHTFUL COMEDY
Mozart’s most popular opera is filled with chaos
and hilarity as clever servants outwit arrogant
masters, crafty women outsmart foolish men
folk, and one crazy day ends in happiness and
love. Brighten your winter with an “engrossing,
astute, and unmissable” (The New Zealand
Herald) staging of this charming favorite.
With English Subtitles.
Evenings 7:30 p.m.
Sundays 2:00 p.m.
Featuring the Seattle Opera
Chorus and members of Seattle
Symphony Orchestra.
PRODUCTION SPONSORS: ANN P. WYCKOFF, MICROSOFT
16
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Art Director
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December 3, 2015–January 3, 2016
SEATTLE SYMPHONY CHORALE, P. 23
CO N C ERTS
P. 18
P. 36
Thursday, December 3, at 7:30pm
Saturday, December 5, at 8pm
Sunday, December 6, at 2pm
Tuesday, December 22, at 7:30pm
FAURÉ REQUIEM
P. 24
Wednesday, December 9, at 7:30pm
THE BLIND BOYS OF
ALABAMA: TALKIN’
CHRISTMAS!
HOLIDAY SPECIALS | LIVE @
BEN AROYA HALL
A FESTIVAL OF
LESSONS & CAROLS
HOLIDAY SPE CIALS
P. 40
Wednesday, December 30, at 7:30pm
Saturday, January 2, at 8pm
Sunday, January 3, at 2pm
BEETHOVEN
SYMPHONY NO. 9
HOLIDAY SPE CIALS
THE BLIND BOYS OF ALABAMA, P. 25
Thursday, December 31, at 9pm
P. 27
Friday, December 11, at 8pm
Saturday, December 12, at 2 & 8pm
HOLIDAY POPS
NEW YEAR’S EVE
CONCERT,
COUNTDOWN
& CELEBRATION
HOLIDAY SPE CIALS
SEATTLE POPS SE RIES
TITLE SPONSOR
P. 30
Friday, December 18, at 8pm
Saturday, December 19, at 1 & 8pm
HANDEL MESSIAH
SASHA COOKE, P. 45
PAUL AGNEW, P. 33
HOLIDAY SPECIALS
Photo credits (top to bottom): Ben VanHouten, Cameron
Witting, Denis Rouvre, Dario Acosta
PROGRAM NOTES
Thursday, December 3, 2015, at 7:30pm
Saturday, December 5, 2015, at 8pm
French Efflorescence
Sunday, December 6, 2015, at 2pm
FAURÉ REQUIEM
Ludovic Morlot, conductor • Jane Archibald, soprano • Nicolas Cavallier, baritone •
Valerie Muzzolini Gordon, harp • Seattle Symphony Chorale • Seattle Symphony
CLAUDE DEBUSSY Danses sacrée et profane9’
VALERIE MUZZOLINI GORDON, HARP
OLIVIER MESSIAEN Poèmes pour Mi 28’
Ier Livre (Book I)
Action de grâces (“Thanksgiving”)
Paysage (“Landscape”)
La maison (“The House”)
Épouvante (“Terror”)
IIme Livre (Book II)
L’épouse (“The Wife”)
Ta voix (“Your Voice”)
Les deux guerriers (“The Two Warriors”)
Le collier (“The Necklace”)
Prière exaucée (“Answered Prayer”)
JANE ARCHIBALD, SOPRANO
INTERMISSION GABRIEL FAURÉ Requiem, Op. 48 Introït et Kyrie
Offertoire
Sanctus
Pie Jesu
Agnus Dei et Lux aeterna
Libera me
In Paradisum
JANE ARCHIBALD, SOPRANO
NICOLAS CAVALLIER, BARITONE
SEATTLE SYMPHONY CHORALE
38’
During the last decades of the 19th
century, Paris came abreast of Vienna
as the leading city of European
music. This development reflected the
growing importance and vitality of
French music at this time. For more
than a century, until about 1870, only
one French composer, Hector Berlioz,
had created a body of work to rival
the achievements of German and
Austrian music represented by Mozart,
Beethoven, Schubert, Wagner, Brahms
and other musical creators only slightly
less accomplished. But just as French
painting blossomed so remarkably in the
work of Degas, Monet, Renoir and other
artists during the last third of the 19th
century, French music began its own
efflorescence at around the same time.
This came not as a result of French
composers challenging their AustroGerman counterparts directly. Instead
of emulating the procedures and
achievements of Beethoven, Brahms et
al, French musicians took to cultivating
and accentuating what had always been
most distinguished in their art: vivid
instrumental colors, sensuous harmonies
and textures, supple rhythms that
mirror the cadence of their language,
and clarity in matters of form and
instrumentation. As a result, French
music became ... well, more French than
ever during the waning years of the
19th century. And innovations by French
composers would help lead music into
the new era of modernism that dawned
after 1900.
C L AU D E D E B U S S Y
Pre-concert Talk one hour prior to performance.
Speaker: Bryce Ingmire, Seattle Symphony Teaching Artist
Danses sacrée et profane
Front Row Center conversation with KUOW’s Marcie Sillman and Music Director Ludovic
Morlot on Sunday, December 6 in the Samuel & Althea Stroum Grand Lobby following the
concert.
BORN:
Valerie Muzzolini Gordon’s performances are generously underwritten by Sue and Robert
Collett through the Seattle Symphony’s Principal Musicians Circle.
Jane Archibald and Nicholas Cavallier’s performances are generously underwritten by
Dana and Ned Laird through the Seattle Symphony’s Guest Artists Circle.
Performances of Fauré Requiem are sponsored by the Nesholm Family Foundation.
Please note that the timings provided for this concert are approximate.
Please turn off all electronic devices and refrain from taking photos or video.
Performance ©2015 Seattle Symphony. Copying of any performance by camera, audio or video recording
equipment, and any other use of such copying devices during a performance is prohibited.
18
SEATTLESYMPHONY.ORG
August 22, 1862, in Saint Germaine-en-
Laye, near Paris
DIED:
March 25, 1918, in Paris
WORK COMPOSED:
1904
WORLD PREMIERE:
November 6, 1904, in Paris.
Lucille Wurmser-Delcourt was the harp soloist.
The works that make up the first half of
our program represent not only two of the
foremost French composers but also two
of music’s great innovators. The first, and
better known, is Claude Debussy. Because
by Paul Schiavo
Debussy’s music is so beguiling, it is easy
to overlook how daring it was a century
and more ago. No composer before
Debussy, and few since, conceived
rhythm, melody and, especially, harmony
in a manner so independent of the past.
second dance between passages of
freer material.
Although Debussy composed nothing
that can properly be called a concerto,
he did leave several small-scale works
for solo instruments with orchestra. An
early Fantaisie for piano and orchestra
was followed by his Première rapsodie,
with clarinet as the solo instrument, and
the work we hear this evening, Danses
sacrée et profane, for harp and strings.
Poèmes pour Mi
Debussy wrote this “Sacred and Profane
Dance” in 1904 on commission from the
Pleyel firm of instrument builders. The
company had recently brought forth
a newly designed harp and wanted a
composition to showcase its virtues.
Although a simple display piece might
have sufficed, Debussy produced much
more than that.
The two portions of Danses sacrée et
profane are connected to form a single
movement. In the initial dance, Debussy
conjures an atmosphere of ancient
religiosity. The adjective “profane”
describing the second dance does not
carry the pejorative meaning in French
that it does in English. Rather than
impiety or desecration, it connotes a
secular, earthly or sensual character — in
this case, that of popular Spanish culture,
for this is one of several instances in
which Debussy, that quintessentially
French composer, looked south to Spain
for inspiration.
WHAT TO LISTEN FOR: In the opening
section, chant-like phrases in the strings
and glistening chords from the harp
define harmonies that suggest an almost
medieval spirituality. A contrasting
episode presents a more mysterious
and animated melody against an
accompanying figure of four notes rising
repeatedly from the solo instrument.
Following a brief recollection of the initial
material, a cascade of broken chords
ends in a slow, rocking motif in the low
register of the harp. Over this appears
the rhythmic theme of the danse
profane. Its alluring off-beat lilt and more
lush harmonies impart a Spanish flavor,
and this theme returns throughout the
Scored for solo harp and strings.
OLIVIER MESSIAEN
BORN:
DIED:
December 10, 1908, in Avignon
April 27, 1992, in Clichy, near Paris
WORK COMPOSED:
1936–37
WORLD PREMIERE:
January 20, 1949, in Paris.
Marcelle Bunlet was the soprano soloist, and
Roger Désormière conducted l’Orchestre
National de France.
Like Debussy, Olivier Messiaen was not
only a major French composer but one
of the most independent and original
musicians of the 20th century, the creator
of a unique and startling body of work.
Adhering to none of the modernist
styles or movements that enjoyed
currency during his lifetime, Messiaen
followed his own sensibilities throughout
his career, creating his own musical
language out of scales and harmonies
of his own invention; rhythms derived
from an ancient Hindu treatise; bird calls;
numerical symbols; and a strongly felt
affinity between sound and color. Often
his work articulated aspects of his very
personal brand of Roman Catholicism,
and although his faith would strike few as
orthodox, Messiaen must nevertheless
be counted one of the foremost religious
composers of the last century.
In 1932 Messiaen married Claire Delbos,
a violinist and composer. The highest
string on the violin is the E string, and
the note E is called “Mi” in French
musical nomenclature (think Do, Re, Mi...).
This became Messiaen’s affectionate
nickname for his wife. The couple had
a warm and devoted relationship, and
they often performed together (Messiaen
was an accomplished pianist). Four
years after they wed, they built a small
house by a lake near Grenoble, with
a view of the mountains. This retreat
became Messiaen’s favorite place for
composing, and the first work he wrote
there was a gift to his wife: a cycle of
nine songs whose texts were poems by
the composer.
Poèmes pour Mi meditates on the idea
of marriage as both a human blessing
and a religious sacrament. The first song
gives thanks for God’s gifts of nature (sky,
water, mountains), for the poet’s beloved
(“an eye close to my eye, a thought close
to my thought”) and for the redemptive
sacrifice of Christ. Messiaen draws
further parallels between nature and his
wife in the second song, and in the third
he extolls the joy they know dwelling
together in a house surrounded by
natural beauty. But the idyll evoked in La
maison cannot last, and the fourth song,
Épouvante (“Terror”), evokes its opposite,
the hell to which a solely earthly love can
lead.
The three songs that follow show the
way out of that darkness, beginning with
a call to follow where the (Holy) Spirit
leads, and concluding with a vision of
the married couple as spiritual warriors.
The last two songs reveal the rewards
of that journey and struggle. Le collier
(“The Necklace”) paints a touching
portrait of the couple in loving embrace.
Complementing this vision of sensual
love, the concluding song praises the
heavenly grace granted the faithful
Christian. Its grateful tone resonates with
that of the first song, thereby bringing the
cycle full circle to its point of departure.
WHAT TO LISTEN FOR: Much of the
orchestration of Poèmes pour Mi
reflects Messiaen’s lifelong vocation
as a church organist. The vocal writing
ranges in style from quasi-liturgical chant
at the outset of the cycle, and again in
the final song, to menacing snarls in
Épouvante to languorous sensuality in
Le collier. Among the many extraordinary
moments of this generally extraordinary
composition are the rapturous “Alleluias”
sung over circling lines from the
woodwinds at the close of Action de
grâces, the cascading vocal lines that
suggest falling into hell in Épouvante, the
birdsong near the end of Ta voix and the
unbridled ecstasy just before the close.
Scored for 3 flutes, the third doubling
on piccolo; 2 oboes and English horn; 2
clarinets and bass clarinet; 3 bassoons,
the third doubling on contrabassoon; 4
horns, 3 trumpets, 3 trombones and tuba;
percussion and strings.
PROGRAM NOTES
G A B R I E L FAU R É
Requiem, Op. 48
BORN:
DIED:
May 12, 1845, in Pamiers, France
November 4, 1924, in Paris
WORK COMPOSED:
1886–90, 1900
WORLD PREMIERE:
Although this work was
heard in a preliminary and incomplete form in
January 1888, in Paris, under Fauré’s direction,
its premiere in its complete and definitive
version took place in Paris on July 12, 1900,
under the direction of Paul Taffanel.
Gabriel Fauré’s Requiem is among the
most affecting musical settings of the
Latin Missa pro defunctis, the Mass for
the Dead, and its tone is unlike any of the
compositions that may be considered its
peers. The requiems of Verdi and Berlioz
are spectacular works that address the
notions of death, resurrection and final
judgment in grand, even theatrical, tones.
Smaller in scale, Mozart’s is filled with
great poignancy.
Fauré, by contrast, composed a hymn
of solace and supplication, music to
comfort mourners rather than impress
upon them the enormity of death. It is
a less dramatic, though in no way less
moving, setting of the text, something
Fauré himself recognized when he
wrote of the composition to the violinist
Eugène Ysaÿe, claiming that “Elle est d’un
caractère doux comme moi-meme” (“It is
gentle in character, like myself”).
This mildness results as much from what
the work does not say as what it does.
Among other things, Fauré omits entirely
the Dies irae sequence, which normally
follows the Kyrie, and which brought
forth such terrifying music from Mozart
and Verdi. Similarly, he deletes the Tuba
mirum, the occasion for mighty antiphonal
trumpeting in Berlioz’s Requiem. Instead,
Fauré chooses those passages of the
Mass for the Dead that serve as prayer
and consolation. His theme is always
“requiem,” the blessed rest of those
whose life’s journey is over.
It is understandable that Fauré chose
to temper his work in this way. The
awesome vision of the Last Judgement
would have appealed little to a man
whose aesthetic sensibilities were as
20
SEATTLESYMPHONY.ORG
continued
refined as Fauré’s, and who, moreover,
was not a believer. Although he served
for many years as organist at the Church
of the Madeleine in Paris, the composer
was openly agnostic. His skepticism
inclined him toward the more generally
spiritual aspects of the Mass — whose
expression best suited his art, in any case
— rather than to suggestive rendering
of its scriptural passages. So while his
Requiem is certainly a composition for
the Church, the spirit of humanism may
be heard, at least subliminally, throughout
the score.
But even if Fauré’s faith was far from
complete, the sentiments conveyed in
his Requiem were nevertheless personal
and authentic. He began earnest work on
this piece in 1886, shortly after the death
of his father, and finished it at the end
of the following year. Part of the music
was heard at the Madeleine in January
1888. Fauré subsequently revised the
orchestration, and the composition was
heard in its definitive version in 1900. It
also was performed at the composer’s
own memorial service, in 1924. It stands
as one of Fauré’s greatest achievements,
which is to say one of the finest works in
all of French music.
Paradoxically,
Fauré’s characteristic use of
understatement — manifested in modest
themes, delicate textures, harmonic
subtlety and transparent orchestration
— accounts for much of this music’s
power. His melodies, while exquisite, are
simple and chant-like (there is nothing
resembling operatic writing in the vocal
parts of the work). The orchestra and
organ are used with admirable restraint
to accompany the singers. The few
forceful passages are made all the more
effective, and the entire score all the
more touching, for this generally quiet
eloquence.
WHAT TO LISTEN FOR:
Scored for 2 flutes, 2 clarinets and 2
bassoons ; 4 horns, 2 trumpets and 3
trombones ; timpani, harp, organ and
strings.
© 2015 Paul Schiavo
CONCE RT
S PONSOR
Since its establishment 28
years ago, The Nesholm Family
Foundation has supported
organizations that enhance the
quality of life in our community,
including sponsorship of
Seattle’s vibrant performing
arts groups. For over a century,
Pacific Northwest audiences
have delighted in performances
of the Seattle Symphony, which
now reaches more than 315,000
people each year in Benaroya
Hall and community venues.
This includes 65,000 served
through free concerts, classes
and demonstrations designed
for families, teachers and
students.
Music Director Ludovic Morlot
and the Seattle Symphony
continue to surprise and delight
us with incredible performances
of both contemporary works
and time-honored classics.
We are honored to partner
again with the orchestra and
Morlot for his fifth season
and proud to sponsor these
Masterworks performances of
Fauré’s Requiem.
We look forward to many more
exciting Seattle Symphony
performances to come.
John Nesholm, President
Erika Nesholm, Executive
Director
The Nesholm Family Foundation
JA N E A R C H I B A L D
Soprano
FORTE: Jane
Archibald’s career
trajectory, which began
in Nova Scotia,
Canada, has taken her
from Toronto to San
Francisco to the
Vienna State Opera
Courtesy of Alexander Melnikov
and beyond. After
beginning her
professional opera career in her native
Canada, Archibald made her San
Francisco Opera debut in 2005 as Elvira in
L’Italiana in Algeri, and was an Adler
Fellow and Merola participant with the San
Francisco Opera.
LISTEN AND REJOICE
Her recent
engagements across Europe and North
America include the title role in Lucia
di Lammermoor and Konstanze in
Zurich, Adele and Ophélie at the Met,
Olympia, Zerbinetta and Cleopatra at
the Opéra National de Paris, Sophie in
Der Rosenkavalier at La Scala Milan and
in Berlin, Zerbinetta at Baden-Baden
Festspielhaus, the Royal Opera House
Covent Garden and in Munich, as well as
Semele at the Canadian Opera Company.
RECENT ENGAGEMENTS:
CONCERT HIGHLIGHTS: Recent concert
highlights include Mozart’s Exsultate
Jubilate with Lorin Maazel and the
Orchestra of La Scala, Brahms’ Requiem
with the San Francisco Symphony and
Michael Tilson-Thomas, Messiaen’s
Poèmes pour Mi with Christian Thielemann
and the Berlin Philharmonic and Mozart
arias with the Camerata Salzburg and
Louis Langrée.
Her first
solo CD, a program of Haydn coloratura
arias, has been released on the ATMA
Classique label and won the 2012 JUNO
Award for Classical Album of the Year.
She has been critically acclaimed for her
earlier recordings of works by Vivaldi and
Charpentier with the Aradia Ensemble
for Naxos and Strauss’ Deutsche Motette
with Accentus for the Naive label. A
Canada Council grant recipient, she was
also the 2006 winner of the Sylva Gelber
Foundation award for the most talented
musician under 30.
DISCOGRAPHY & AWARDS:
SEASON
2015
16
HOLIDAY CONCERTS AT BENAROYA HALL
DECEMBER 18–20
HANDEL MESSIAH
Paul Agnew, conductor & tenor
Anna Devin, soprano
Benno Schachtner, countertenor
Matthew Burns, baritone
Seattle Symphony Chorale
Seattle Symphony
A triumph of music and text, Handel’s Messiah is
a matchless December tradition. The Symphony,
Chorale and a strong cast of soloists honor
Handel’s greatest work.
TICKETS FROM: $25
DECEMBER 30, JANUARY 2 & 3
BEETHOVEN SYMPHONY NO. 9
Andrew Grams, conductor
Caitlin Lynch, soprano
Sasha Cooke, mezzo-soprano
Daniel Shirley, tenor
Corey McKern, baritone
Seattle Symphony
HUMPERDINCK: Prelude to Hansel and Gretel
VAUGHAN WILLIAMS: Fantasia on
Greensleeves
BEETHOVEN: Symphony No. 9, “Choral”
ANDREW GRAMS
Media Sponsor:
TICKETS FROM: $28
DECEMBER 31
NEW YEAR’S EVE
Corey McKern, baritione
Seattle Symphony
For New Year’s Eve you can follow Beethoven’s
Ninth with a post-concert party that includes
a glass of champagne, a live performance by
electro-swing band Good Co and dancing all the
way to the midnight countdown and beyond!
Midnight toast sponsored by:
NEW YEAR’S EVE
TREVERI
CELLARS
TICKETS FROM: $50
FOR TICKETS:
206.215.4747 | SEATTLE SYMPHONY.ORG
NICOLAS
C AVA L L I E R
VA L E R I E M U Z ZO L I N I
GORDON
Baritone
Harp
BACKGROUND &
French
baritone Nicolas
Cavallier studied in
London at the Royal
Academy of Music and
at the National Opera
Studio. His
professional career
began at the
Glyndbourne Festival with Die Zauberflöte
(Sarastro), directed by Peter Sellars, and
Fidelio (Don Fernando).
EDUCATION:
Cavallier has been seen
at several major theaters across Europe
and Asia including in Berlin, Brussels,
Geneva, Madrid, Milan at La Scala, the
Paris Opera, Venice and Hong Kong, as
well as throughout France in Avignon,
Bordeaux, Lyon, Marseille, Monte-Carlo,
Nancy, Orange and Strasbourg. He
regularly performs major Mozart roles
such as Figaro (Le Nozze di Figaro),
Leporello, Don Giovanni and Don Alfonso
(Così fan tutte) as well as the roles of
Mustafa (L’Italiana in Algeri), Dulcamara
(L’elisir d’amore), Colline (La bohème),
Rocco (Fidelio), Nick Shadow (The Rake’s
Progress), Philippe II (Don Carlos), the
Four Devils in Offenbach’s Les Contes
d’Hoffmann, Escamillo (Carmen), title
roles of Massenet’s Don Quichotte and
Wagner’s Der fliegende Hollander, and
Méphisto (Faust).
REGULAR ROLES:
Cavallier made
his Seattle Opera debut in 2009 as
Figaro in Le nozze di Figaro and returned
returned in 2011 in the title role of Don
Quichotte. In 2014 he sung the role of the
Villains in The Tales of Hoffmann and later
that year took the Seattle Opera stage in
the title role of Don Giovanni.
SEATTLE CONNECTIONS:
ORCHESTRAL
Valerie
Muzzolini Gordon is
Principal Harp of the
Seattle Symphony, a
position she has held
since the age of 23. In
demand both
nationally and
internationally, she has
performed as guest principal harp of the
Boston Symphony Orchestra, the Oregon
Symphony, the Mariinksy Orchestra, the
Orchestre Philharmonique de Radio
France and the Nice Philharmonic, and has
appeared with The Philadelphia Orchestra
and the Los Angeles Philharmonic.
HIGHLIGHTS:
As soloist,
she has performed with the Seattle
Symphony, Nice Philharmonic and the
Vancouver Symphony. An active chamber
musician and proponent of new music,
she performs regularly with the Seattle
Chamber Music Society, the Seattle
Chamber Players, Music of Remembrance,
she also premiered a double concerto
for violin and harp at the New Hampshire
Music Festival in 2012.
SOLO & CHAMBER HIGHLIGHTS:
BACKGROUND & EDUCATION: Muzzolini
Gordon began her musical education
in Nice, France with Elizabeth FontanBinoche, and continued her studies at the
Curtis Institute of Music Marilyn Costello
and Judy Loman, followed by graduate
work at Yale University with Nancy Allen.
J O S E P H C R N KO
Seattle Symphony Associate
Conductor for Choral Activities
SEATTLE SYMPHONY:
Joseph Crnko was
appointed Associate
Conductor for Choral
Activities for Seattle
Symphony in
September 2007.
Crnko brings a wealth
Photo: Yuen Lui Studio
of choral conducting,
arranging, recording
and education experience to his position.
He has prepared the Seattle Symphony
Chorale for numerous critically acclaimed
performances, including Bach’s St.
Matthew Passion, Britten’s War Requiem,
Handel’s Messiah and Verdi’s Requiem.
Crnko is currently
in his 31st year as Music Director of the
Northwest Choirs. During his tenure, he
has established the Northwest Choirs’
reputation as one of the nation’s premier
children’s choirs. Crnko tours worldwide
with the elite Northwest Boychoir, most
recently with concert tours throughout our
nation and Europe. Under his directorship,
the Northwest Boychoir has produced
four top-selling Christmas recordings.
In addition, the Northwest Boychoir is
featured on Naxos’ release of Hans Kråsa’s
children’s opera Brundibár, named by
the Metropolitan Opera Guild as one
of the top classical CDs of 2007. The
Northwest Boychoir is also featured on
Seattle Symphony’s release of Samuel
Jones’ The Shoe Bird, which received a
Grammy nomination in 2009. Recently
the Northwest Boychoir presented the
world-premiere of VEDEM, a new work
by composer Lori Laitman. The Boychoir’s
recording of this work was released on the
Naxos label.
NORTHWEST CHOIRS:
CHORAL ARRANGEMENTS & CONDUCTING:
Over the years, Crnko has written choral
arrangements for boy choirs, a number of
which are now being performed by choirs
nationally. His Christmas arrangements
are featured in the major motion picture
Millions. In addition to his work with
the Northwest Choirs, Crnko regularly
conducts orchestral and choral recording
sessions for movie and video game
soundtracks, including those for the video
games Halo, Medal of Honor and World of
Warcraft. Some of his recent film projects
include Boondock Saints, The Celestine
Prophecy, The Last Stand and Let Me In.
22
SEATTLESYMPHONY.ORG
S E AT T L E S Y M P H O N Y C H O R A L E
The Seattle Symphony Chorale serves as the official
chorus of the Seattle Symphony. Over the past four
decades, the Chorale has grown in artistry and stature,
establishing itself as a highly respected ensemble. Critics
have described the Chorale’s work as “beautiful, prayerful,
expressive,” “superb” and “robust,” and have praised it
for its “impressive clarity and precision.” The Chorale’s
120 volunteer members, who are teachers, doctors,
attorneys, musicians, students, bankers and professionals
from all fields, bring not only musical excellence, but a
Photo: Ben VanHouten
sheer love of music and performance to their endeavor.
Directed by Joseph Crnko, Associate Conductor for Choral Activities, the Chorale
performs with the Seattle Symphony both onstage and in recorded performances.
“I LOVED THE MUSIC — I REMEMBER
BEING JUST OVERWHELMED WITH JOY”
Seattle Symphony subscriber and Musical Legacy Society member Sonia Spear,
age 101, reflecting on her first Symphony experience at age six.
IF THE MUSIC BRINGS YOU JOY, SHARE THAT FEELING
WITH A LASTING GIFT THROUGH YOUR WILL OR ESTATE.
For more information, contact Becky Kowals at
becky.kowals@seattlesymphony.org or 206.215.4852.
Soprano
Caitlin AndersonPatterson
Laura Ash
Amanda Bender
Lolly Brasseur
Bree Brotnov
Emma Crew
Erin M. Ellis
Jacquelyn Ernst
Zanne Gerrard
Emily Han
Teryl Hawk
Caitlin Hutten
Sharon Jarnigan
Elizabeth Johnson
Katy Kaltenbrun
Seung Hee Kim
Lori Knoebel
Lillian Lahiri
Lucy Lee
Kori Loomis
Janelle Maroney
Megan McCormick
Alyssa K. Mendlein
Geraldine Morris
Kristen Nelson
Helen Odom
Nicolle Omiste
Margaret Paul
Sasha S. Philip
Karrie Ramsay
Kirsten Ruddy
Ana Ryker
Emily Sana
Barbara Scheel*
Laura A. Shepherd
Joy Chan Tappen
Bonnie L. Thomas
Toby Trachy
Andrea Wells
Alto
Cynthia Beckett
Cyra Valenzuela
Benedict
Carol Burleson
Grace Carlson
Terri Chan
Rachel Cherem
Christi Leigh Corey
Lauren Cree
Paula Corbett Cullinane
Aurora de la Cruz
Lisa De Luca
Robin Denis
Kaley Lane Eaton
Cindy Funaro
Carla J. Gifford
Amy Gleixner
Kelly Goodin
Erin Rebecca Greenfield
Inger Kirkman*
Emma Kusters
Sara Larson
Rachel Lieder Simeon
Monica Namkung
Angela Oberdeck
Kathryn Pedelty
Erica J Peterson
Karis Pratt
Alexia Regner
Valerie Rice
Emily Ridgway
Dale Schlotzhauer
Darcy Schmidt
Carreen A. Smith
Kathryn Tewson
Paula Thomas
JoAnn Wuitschick
Tenor
Matthew Blinstrub
Perry L. Chinn
Joe Cook
Spencer Davis
Anton R. du Preez
David P. Hoffman
Jim Howeth
Neil Johnson
Kevin Kralman*
Patrick Le Quere
Ian Loney
James H. Lovell
Andrew Magee
Jakub Martisovits
Alexander Oki
James Pham
Vijay Ramani
Jonathan M. Rosoff
Bert Rutgers
Joey Torres
Max Willis
Bass
John Allwright
Jay Bishop
Hal Bomgardner
Darrel Ede
Morgan Elliott
Curtis Fonger
Steven Franz
Raphael Hadac
Rob Jones
Rob Kline
Ronald Knoebel
Tim Krivanek
Matthew Kuehnl
KC Lee
Thomas C. Loomis
Bryan Lung
Tyler Pattison
Isaiah Ragland
Ken Rice
Martin Rothwell*
Robert Scherzer
Christpoher Smith
Jim Snyder
Andrew Sybesma
Joseph To
Michael Uyyek
Jared White
Lavert Woodard
* principal of section
Wednesday, December 9, 2015, at 7:30pm
THE BLIND BOYS
OF ALABAMA:
TALKIN’ CHRISTMAS!
HOLI DAYS SPEC I ALS | LI VE @ B ENAR OYA H ALL
The Blind Boys of Alabama
Benjamin Moore, vocals
Eric “Ricky” McKinnie, vocals
Jimmy Carter, vocals
Joey Williams, guitar, vocals
Paul Beasley, vocals
Ray Ladson, keyboard
Austin Moore, drums
Tracy Pierce, bass
Tonight’s program will be announced from the stage.
There will be no intermission.
Media Sponsor: KEXP 90.3 FM
24
SEATTLESYMPHONY.ORG
T H E B L I N D B OY S
OF ALABAMA
Photo: Cameron Witting
FORTE: The Blind Boys of Alabama are
an American treasure. Known for crossing
multiple musical boundaries with their
remarkable interpretations of everything
from traditional gospel favorites to
contemporary spiritual material, including
songs by writers such as Prince and Tom
Waits, the band was recently called “a
superweapon of roots-music uplift” by
Rolling Stone magazine.
This holiday
season, the Blind Boys are touring in
support of their latest Christmas album,
Talkin’ Christmas! on Sony Masterworks.
Proclaimed “a breath of fresh winter air”
by The Los Angeles Times, it features
blues legend Taj Mahal and includes
several original holiday songs. This special
concert will feature songs from the Talkin’
Christmas! album as well as the band’s
previous Grammy-winning Christmas
recording, Go Tell It on the Mountain, along
with Blind Boys’ Gospel classics from a
70-plus-year career.
TALKIN’ CHRISTMAS:
LEGACY: After touring in the gospel
caravans of the 1940s and ‘50s, the Blind
Boys have since enjoyed accolades and
awards from all parts of the music world,
including a remarkable five Grammy
Awards, Lifetime Achievement Awards
from The National Endowment for the
Arts (NEA) and the National Academy of
Recording Arts and Sciences (NARAS), and
an induction into the Gospel Music Hall
of Fame. The Blind Boys have appeared
on recordings with Lou Reed, Peter
Gabriel, Susan Tedeschi, Aaron Neville,
Ben Harper, Justin Vernon of Bon Iver and
many other great artists. The band has also
been featured on The Tonight Show, Late
Night with David Letterman, The Grammy
Awards telecast, 60 Minutes, The Colbert
Report, and were co-stars in the Broadway
musical The Gospel at Colonus with
Morgan Freeman.
GET WITH IT
Visit EncoreArtsSeattle for
an inside look at Seattle’s
performing arts.
EncoreArtsSeattle.com
PROGRAM
LIBRARY
BEHIND
THE SCENES
ARTIST
SPOTLIGHT
WIN IT
PREVIEWS
Friday, December 11, 2015, at 8pm
Saturday, December 12, 2015, at 2 & 8pm
SEATTLE POPS SERIES
TITLE SPONSOR
HOLIDAY POPS
S E AT T LE POPS S ER I ES TITLE SPON SOR
Stuart Chafetz, conductor • Capathia Jenkins, vocals • Tony DeSare, piano & vocals •
University of Washington Chorale • Seattle Seahawks Blue Thunder Drumline • Seattle Symphony
JERRY HERMAN
“We Need A Little Christmas”
/arr. Robert Wendel UNIVERSITY OF WASHINGTON CHORALE
MEREDITH WILLSON
“It’s Beginning To Look A Lot Like Christmas”
TONY DESARE, VOCALS
TRADITIONAL
“The Many Moods Of Christmas,” Suite Three
/arr. Robert Shaw and “Hark! The Herald Angels Sing”—
Robert Russell Bennett “Bring a Torch, Jeanette, Isabella”—
“Angels We Have Heard On High”
UNIVERSITY OF WASHINGTON CHORALE
MARIAH CAREY / WALTER AFANASIEF
“All I Want For Christmas Is You”
/arr. Tedd Firth CAPATHIA JENKINS, VOCALS
FRANK LOESSER
“Baby, It’s Cold Outside”
/arr. Melrose / Gibson / Tidwell CAPATHIA JENKINS, VOCALS
TONY DESARE, PIANO AND VOCALS
THE
SEATTLE SYMPHONY
THANKS MCM
FOR MAKING
THE SEATTLE POPS
SERIES POSSIBLE.
VINCE GUARALDI / LEE MENDELSON
“Christmas Time Is Here”
/arr. Matt Catingub TONY DESARE, PIANO AND VOCALS
SAMMY CAHN / JULE STYNE
“Let It Snow”
/arr. Tedd Firth CAPATHIA JENKINS, VOCALS
TONY DESARE, PIANO
/arr. Robert Wendel
Little Bolero Boy
SEATTLE SEAHAWKS BLUE THUNDER DRUMLINE
INTERMIS SI O N
JOHN F. WADE
“Oh Come, All Ye Faithful”
/arr. Mack Wilberg UNIVERSITY OF WASHINGTON CHORALE
MARK LOWRY / BUDDY GREENE
“Mary, Did You Know?”
/arr. Randall Craig Fleischer CAPATHIA JENKINS, VOCALS
JOHN JACOB NILES
/arr. Wayne Barker
“I Wonder As I Wander”
GLORIA SHAYNE BAKER / NOËL REGNEY Do You Hear What I Hear?
/arr. David Hamilton
JOHN FREDERICK COOTS /
“Santa Claus Is Coming To Town”
HAVEN GILLESPIE CAPATHIA JENKINS, VOCALS
/arr. Bill Holcombe RICHARD ZIMAN, SPECIAL GUEST
TONY DESARE
“Christmas For You And Me”
/arr. Tedd Firth TONY DESARE, PIANO AND VOCALS
JAMES PIERPONT
“Jingle Bells”
/arr. Leonard Stone TONY DESARE, PIANO AND VOCALS
HUGH MARTIN / RALPH BLANE
“Have Yourself A Merry Little Christmas”
/arr. Fred Barton TONY DESARE, PIANO AND VOCALS
ADOLPHE ADAM
“O Holy Night!”
/arr. David T. Clydesdale CAPATHIA JENKINS, VOCALS
Seattle Pops series Title Sponsor: MCM
S T UA R T C H A F E T Z
C A PAT H I A J E N K I N S
TO N Y D E S A R E
Conductor
Vocals
Piano & vocals
FORTE: Stuart Chafetz
is a conductor with a
dynamic podium
demeanor and a
refined sense of
audience engagement.
Increasingly in demand
with orchestras across
Photo: Tom Johnson
the continent, this
season Chafetz will be
on the podium in Chicago, Cincinnati,
Detroit, Grand Rapids, Hawaii, Houston,
Jacksonville, Louisiana, Milwaukee,
Naples, Phoenix and others.
Chafetz has had the
privilege to work with renowned artists
such as George Benson, Chris Botti,
Richard Chamberlain, The Chieftains,
John Denver, Roberta Flack, Marvin
Hamlisch, Thomas Hampson, Jennifer
Holliday, Wynonna Judd, Jim Nabors,
Randy Newman, Jon Kimura Parker and
Bernadette Peters. Previous conducting
appearances include the orchestras of
Baltimore, Buffalo, Calgary, Edmonton,
Florida, Indianapolis, Jacksonville, Kansas
City, Louisiana, Naples, New Mexico,
Phoenix, San Francisco, San Francisco
Ballet, Toronto and Virginia. In the
summers, Chafetz spends his time at the
Chautauqua Institution, where he conducts
the annual Fourth of July and Opera Pops
concerts with the Chautauqua Symphony
Orchestra in addition to his role as that
orchestra’s timpanist.
CAREER HIGHLIGHTS:
He previously held posts
as resident conductor of the Milwaukee
Symphony Orchestra and associate
conductor of the Louisville Orchestra.
As principal timpanist of the Honolulu
Symphony for twenty years, Chafetz
would also conduct the annual Nutcracker
performances with Ballet Hawaii and
principals from the American Ballet
Theatre. It was during that time that
Chafetz led numerous concerts with the
Maui Symphony and Pops.
PAST POSTS:
Chafetz holds a bachelor’s
degree in music performance from the
College-Conservatory of Music at the
University of Cincinnati and a master’s from
the Eastman School of Music.
EDUCATION:
28
SEATTLESYMPHONY.ORG
BROADWAY & OFF-
The
Brooklyn-born and
raised actress,
Capathia Jenkins, most
recently starred as
Medda in the hit
Disney production of
Photo: James Alexander, SneakPeek
Newsies on Broadway.
Photography
She has also been
seen on Broadway in The Civil War, where
she created the role of Harriet Jackson;
The Look of Love; Caroline, Or Change;
and Martin Short: Fame Becomes Me,
where she sang “Stop the Show” and
brought the house down every night.
Jenkins starred Off-Broadway in the revival
of Godspell and (mis)Understanding
Mammy for which she received a Drama
Desk Nomination.
BROADWAY:
IN CONCERT: An active concert artist,
Jenkins has appeared with orchestras
around the world including the Atlanta
Symphony, Calgary Philharmonic,
Cincinnati Pops, Cleveland Orchestra,
Colorado Symphony, Edmonton
Symphony, Hong Kong Philharmonic
Houston Symphony, Minnesota Orchestra,
Nashville Symphony, National Symphony,
Philly Pops, Pittsburgh Symphony (with
Marvin Hamlisch), San Antonio Symphony,
San Diego Symphony, Seattle Symphony,
Toronto Symphony and the Utah
Symphony, and will return twice in 2016
as a guest soloist with the Festival Cesky
Krumlov in the Czech Republic. Jenkins
had the great honor of performing in the
“Broadway Ambassadors to Cuba” concert
as part of the Festival De Teatro De La
Habana. She returned to Carnegie Hall
with the New York Pops in November 2015
and recently sang in a Tribute to Marvin
Hamlisch at the Library of Congress.
On December
3 Jenkins was seen on the live NBC
production of The Wiz. Her other television
credits include 30 Rock, Law & Order,
Law & Order: SVU, The Practice and
The Sopranos, and she can be seen in
the 2012 film Musical Chairs directed by
Susan Seidelman. She can be heard on
the following film soundtracks: Chicago,
Legally Blonde 2 and Nine.
TELEVISION & FILM:
FORTE: Named a
Rising Star Male
Vocalist in Downbeat
magazine, DeSare has
lived up to this
distinction by winning
critical and popular
acclaim for his concert
Photo: Bill Westmoreland
performances
throughout North
America and abroad. From jazz clubs to
Carnegie Hall to Las Vegas headlining
with Don Rickles and major symphony
orchestras, DeSare has brought his fresh
take on old school class around the globe.
DeSare has three top ten Billboard jazz
albums under his belt and has been
featured on the CBS Early Show, NPR, A
Prairie Home Companion, the Today Show
and his music has been posted by social
media celebrity juggernaut, George Takei.
UPCOMING PERFORMANCES: DeSare’s
forthcoming appearances include the
Pittsburgh Symphony Orchestra, Arizona
Music Festival, The Smith Center in
Las Vegas, Indianapolis Symphony
Orchestra, The Phoenix Symphony, Naples
Philharmonic, Overture Center for the Arts
in Madison, WI and the Cincinnati Pops
Orchestra, among others.
DeSare releases
new recordings, videos of standards
and new originals every few weeks on
his YouTube channel, iTunes and Spotify,
and is a Yamaha Artist. Notwithstanding
his critically acclaimed turns as a singer/
pianist, DeSare is also an accomplished
award-winning composer. He not only won
first place in the USA Songwriting Contest,
but has written the theme song for the
motion picture, My Date With Drew, along
with several broadcast commercials.
MEDIA & COMPOSITION:
U N I V E R S I T Y O F WA S H I N G TO N C H O R A L E
S E AT T L E S E A H AW K S
B LU E T H U N D E R
DRUMLINE
THUNDER
The University of Washington Chorale is an advanced undergraduate ensemble containing
students from all majors across the Seattle campus. UW Chorale has collaborated with
many prestigious artists including the Seattle Symphony, Sapience Dance Collective, It
Gets Better national touring production and Ann Hamilton, and appeared before the Crown
Princess of Sweden and the President of Latvia. UW Chorale has toured to the Baltics
numerous times, most recently for the 2013 Latvian Song and Dance Festival, as one of the
only invited American choirs. Their first CD, Climb, was awarded third place in the American
Prize national competition, and their second CD, Refuge, is currently in the semi-finals for the
same award.
Giselle Wyers, Director
Brenda Mohr and
Sarah Riskind, assistant
conductors
Serena Chin, accompanist
Soprano 1
Allison Berhow
Denna Good Mohab +
Abby Hendrix *
Olga Laskin
Aliena Lowell
Anna Mikkelborg *+
Magnolia Pattison
Iris Wagner *
Soprano 2
Diana Bachowski
Danielle Goldenberg
Nicola Harris
Hallie Hominda
Erica Meyer
Alexis Neumann
Kristina Terwilliger
Madeline Seaman *
Alto 1
Monica Berndt
Emily Callan
Maddy Greenfield
Stephanie Hobart
Alison Johnson +
Natalie Modlin
Cannon Roe
Emma Switzer
Tata Tangthanakul
Anna Vara +
Alto 2
Mairin Hackett
Anya Hsu
Marcy Landes
Lydia Lee
Kaleena McWilliams Hauke
Emily Sawan
Alta Steward
Tenor 1
Trevor Ainge +
Andrew Briggs
Jordan King
Nick Reynolds +
Bradyn Rookard
Sam Spieth *
Kyle Ueland
Tenor 2
Ezra Boyer
Jacob Caspe +
Wilson Charles
Wesley Cox
Sean Dolan
Tiema Qian
Siyang Xiao
Ryan Wong
Bass 1
Zach Buker
Marijn Burger
Andrew Chiu
Ben Kramer
Cameron Simons
Christopher Steckler
Shawn Swanson
Joseph To +
Bass 2
Edward Cho (Kiyeon)
Fredrik Mansfield *
Scott Thomas McCormick
Aidan O’Hara
Evan Shelton *
Byron Walker *
The Seattle Seahawks Blue Thunder is the
heartbeat of the fans. This high-energy
entertainment drumline was established
in 2004 at CenturyLink Field, performing
throughout the stadium before, during and
after games. Blue Thunder is comprised
of 35 local musicians, ages 21 to 60
with experience ranging to more than
30 years in the industry. Members have
a wide variety of musical backgrounds
including marching bands, drum corps
and rock bands. Not your typical drumline,
Blue Thunder uses a variety of rhythms
and visuals, incorporating rock and roll
drumming alongside drum corps style,
endearing them to Seahawks fans of all
ages. * non-major scholarship
recipient
+ section leader
S A N TA C L AU S
Santa Claus, from the
North Pole, is known
for his jolly demeanor
and ability to bring
cheer to any
performance. In his
signature red and
white suit, he has
Photo: Bill Westmoreland
charmed audiences
near and far. When not
on stage, he spends time grooming his
reindeer and preparing for his annual trip
around the globe, which involves sliding
down chimneys to fill stockings with
presents for the good little boys and girls
on the night of December 24. His
compensation for each concert
appearance is simple: homemade cookies
and a tall, cold glass of milk.
PROGRAM NOTES
Friday, December 18, 2015, at 8pm
Saturday, December 19, 2015, at 1 & 8pm
GEORGE FRIDERIC
HANDEL
Messiah
HANDEL MESSIAH
DIED:
HO L IDAY SPECIA LS
Paul Agnew, conductor & tenor
Anna Devin, soprano
Benno Schachtner, countertenor
Matthew Burns, baritone
Seattle Symphony
GEORGE FRIDERIC HANDEL Messiah INTERMIS SION Part the Second47’
Part the Third23’
Biographies for Joseph Crnko and the Seattle Symphony Chorale may be found on
pages 22 and 23.
30
SEATTLESYMPHONY.ORG
February 23, 1685, in Halle, Saxony
April 14, 1759, in London
WORK COMPOSED:
1741
WORLD PREMIERE:
April 13, 1742, in Dublin,
Handel conducting
Part the First52’
BORN:
George Frideric Handel’s economic
status and overall health suffered a
serious decline in 1741. Londoners
seemed to have tired of opera and gave
the composer a thumbs-down on two
recent ventures for the musical stage. But
Handel was made of stern stuff and was
not ready to give up the ghost, neither
as a composer nor as a living human
being. No stranger to life’s vicissitudes,
he once again would summon the inner
resources to resuscitate his fortunes
and constitution. Lazarus-like, Handel’s
triumphant “rebirth” came through the
providential grace of Messiah.
By mid-summer the resilient composer
was hard at work on his new oratorio.
The catalyst was his frequent collaborator
Charles Jennens (1700–1773), a
literary figure of generally modest
accomplishment, but whose libretto for
Messiah surpassed virtually anything else
he had written. Jennens did a superb
job selecting and combining Biblical
material into a cohesive libretto, nor was
he above rewriting sacred texts to better
suit them to musical elaboration. Handel
— very much his own man in these
matters — was pleased with the text and
made virtually no changes to Jennens’
handiwork. For his part, the librettist
extolled his contribution to Messiah
but expressed disappointment with the
music!
Handel all but disappeared from public
view on August 22, secreting himself in
his apartment for the next three weeks.
He refused all visitors and almost all
food brought to him by his worried valet.
When he finally emerged disheveled and
several pounds lighter on September
12, the weight he had shed had been
reconstituted as a completed manuscript
of what would become the most beloved
oratorio in the English-speaking world.
by Steven Lowe
INSPIRING
GIFTED
STUDENTS
The composer wrote Messiah as if in a
profound raptus and nearly manic zeal,
though it must be pointed out that he
frequently wrote in dazzling streaks
of boundless and focused energy.
Solomon — even larger and grander than
Messiah — was born in but 20 days of
feverish creativity. Clearly Handel was
a fast worker indeed, even if we take
into consideration that in Messiah (as
elsewhere) he cribbed from previous
works and jottings whenever he could,
always fine-tuning and subtly altering
material to increase dramatic and musical
effect. (Of course Bach and countless
Baroque-era worthies operated under
the same modus operandi, unburdened
by current intellectual property guidelines
and laws.)
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THERUINS.NET
Find the silver lining in
your golden years.
With the ink barely dry Handel took the
new score to Dublin whence had come
an invitation from the Duke of Devonshire
to lead a series of charity concerts.
Indeed, without this commission, Handel
might not have written the oratorio
despite his admiration for Jennens’
accomplishment. As a self-respecting
composer of the 18th century it would not
have occurred to him to write without a
specific purpose — both economic and
artistic — in mind.
Handel knew that a visit to the Irish
capital — where he was still an admired
figure — bestowed a golden opportunity
to get on his feet again. He even
brought his own musicians with him
to help ensure success. In April 1742,
Dubliners were regaled with the first
public performances of Messiah, and
they showed their approval with ardent
applause. Ever generous, Handel
donated his share of the proceeds to a
number of charitable institutions including
one that helped “poor distressed
prisoners for debt.”
Upon his return to London, Handel
presented his oratorio to the fickle
English public, which initially greeted the
new work with a lukewarm response.
From 1750 until his death, however,
Messiah received annual benefit
performances at the Foundling Hospital
in London and soon became a hallowed
part of English musical culture, a status
that continues unabated in the current
century.
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PROGRAM NOTES
Though the subject of this wondrous
work is obviously central to the Western
Christian tradition, Messiah (along
with virtually all of Handel’s “religious”
oratorios) was written for public
entertainment, not for the liturgy. It was
conceived musically as an alternative
to opera, not to church service. Freed
from the demands for scenery and
costumes, oratorio was much cheaper
to put on. Relying more heavily on
choral participation than did opera, it
appropriated many of the structural
conventions of the musical/dramatic
tradition. In its three-part layout, Messiah
can be “parsed” as a three act opera
without visuals.
Over its three constituent sections
Messiah embraces a vast range of
emotions generated in the unfolding
story of mankind’s yearning, hope,
anguish and eventual redemption.
Part the First functions as a prologue,
establishing the major Old Testament
prophecies of the coming of the Messiah
in both his gentle/loving and terrible/
cleansing aspects, with the expressed
promise of a holy kingdom embracing
all of humanity. The two-part French
Overture gives us a preview of the
work’s eventual journey from darkness
to light: a slow and solemn Grave yields
to a vigorous and assured three-voiced
fugal Allegro. One of many beauties of
the opening panel of this great musical
triptych is the aria, “Ev’ry valley shall be
exalted,” where the composer expands
upon the word “exalted” to heighten
its textual implications. Here and
elsewhere, Handel broadens the sense
of architecture and grandeur through
the simple but effective use of orchestral
introductions, interludes and postludes.
Another unalloyed gem in Part the
First is the fugal chorus, “And He shall
purify,” one of four choruses, incidentally,
drawn from earlier Handelian works.
The magnificent chorus, “For unto us
a child is born,” transports the listener
with its unflagging rhythmic energy and
exuberant burst of glory on the words,
“Wonderful, Counsellor....” The brief
and lovely “Pastoral Symphony” which
follows is, aside from the Overture, the
only purely orchestral number. Its gently
rocking 12/8 meter (a connective rhythmic
“motto” recurring throughout the entire
score) and enchanting innocence have
32
SEATTLESYMPHONY.ORG
continued
assured its independent life as a concert
encore.
The second part of Messiah focuses on
Christ’s suffering and death. Here the
composer drew upon his considerable
experience in opera to capture the
intensely human and personal suffering
of Christ rejected. This is Handel at
his most moving and sorrowful, as in
the chorus, “Behold the Lamb of God,”
which begins Part the Second. A tragic
mood is sustained, even deepened
in the following aria for contertenor,
“He was despised.” After the death
of Christ, the events surrounding the
Resurrection are presented with rapid
and irresistible momentum, musically
confirming that humankind’s history had
been accelerating to this momentous
event. Having touched us deeply with
music of sublime pathos, Handel gives
vent to outrage in the bass aria, “Why do
the nations so furiously rage together?”
This vehement and defiant question is a
sterling example of the virtuosic “rage”
arias that punctuate Baroque opera.
Having explored and expressed the
gamut of human agony, Handel ends
Part the Second with the much-loved
“Hallelujah!” chorus, as exhilarating and
uplifting a sound as has been uttered
by the human voice. Resplendent in
gleaming D major — a key used by
composers before and since Handel
to convey triumph and glory — the
“Hallelujah!” chorus brings Part the
Second to a brilliant and optimistic close.
For many listeners Part the Second
seems an appropriate ending to Messiah.
But Handel composed it for performance
not for Christmas, but for Easter, which
explains why Part the Third deals with
the Resurrection, not the birth and life of
Jesus.
How, then, to proceed? It speaks to
Handel’s dramatic genius that he could
provide a third part that would not suffer
the charge of anticlimax after the exultant
joy of the “Hallelujah!” chorus. He wisely
eschewed the drums-and-trumpets glory
of “Hallelujah!,” beginning Part the Third
with a serenely beautiful soprano aria,
“I know that my Redeemer liveth.” Here
Handel establishes the healing theme
of redemption that runs throughout the
remainder of the work. Ever the man of
the theater, however, he takes time for
dramatic contrast and virtuosity in the
brilliant “The trumpet shall sound,” a
veritable mini-concerto for solo trumpet
and bass soloist cast as a da capo aria.
The work concludes with the rapt and
beatific “Amen” chorus.
© 2015 Steven Lowe
PAU L AG N E W
ANNA DEVIN
M AT T H E W B U R N S
Conductor & tenor
Soprano
Baritone
FORTE: Paul Agnew is
in continuous demand
as an outstanding
interpreter of the
baroque and preclassical repertoire. His
long association with
the world’s leading
Photo: Pascal Gely
conductors in the field
of early music includes
a discography of over 100 recordings.
Born in Glasgow, he was educated at
Magdalen College, Oxford before
embarking on a career that has taken him
throughout the world.
Widely acknowledged
as one of today’s
brightest young
sopranos for her vocal
versatility and strong
stage presence, Anna
Devin has established
an international career
Photo: Victoria Cadisch
since graduating from
the Royal Opera
House’s Jette Parker Young Artist program
in 2012. The 2014–2015 season
culminated in Devin receiving a prestigious
Helpman Award for Best Supporting
Female in an Opera for her portrayal of
Clotilde in Handel’s Faramondo at
Brisbane Baroque. Highlights of the
upcoming 2015–2016 season include
appearances with Glyndebourne Touring
Opera (Michal, Saul); Lausanne Bach
Festival (Messiah); Seattle Symphony
(Messiah), Welsh National Opera (Susanna,
Le Nozze di Figaro); Mozartwoche in
Salzburg (Acis and Galatea); Haydn’s
Lobgesang with the Vienna Philharmonic;
debut at La Scala, Milan in L’enfant
Sortileges; and a return collaboration with
Marc Minkowski and Les Musiciens du
Louvre in Pergolesi’s Stabat Mater.
Declared as “having a
beautiful bass-baritone
voice” by The New
York Times, Matthew
Burns is a dynamic
performer known for
his unique portrayals
of opera’s most
Photo: Glen Fajota
acclaimed bassbaritone roles. This
season Burns performs Bartolo in Il
barbiere di Siviglia at Opera Omaha,
George in Of Mice and Men at Austin
Opera and Leporello in Don Giovanni with
Arizona Opera. Recently he performed
Leporello in Don Giovanni at Austin Opera
and Opera Memphis; Wuthering Heights at
Florentine Opera; Otec in Smetana’s The
Kiss and Rambaldo in La rondine at Opera
Theatre Saint Louis; the title role in Le
nozze di Figaro with Virginia Opera; and
Raimondo in Lucia di Lammermoor with
Dayton Opera.
OPERA: At the forefront of the revival
of the French baroque repertoire, Paul
Agnew made his critically acclaimed debut
singing the title role in Rameau’s Hippolyte
et Aricie at the Palais Garnier in Paris. He
has since returned to Opéra National de
Paris for new productions of Rameau’s
Platée, Les Boréades and Les Indes
galantes. He continued to perform the
demanding haute-contre roles worldwide
including at the Festival d’Aix-en-Provence
and Opernhaus Zürich.
CONDUCTING HIGHLIGHTS: Following
a highly successful conducting debut
with Les Arts Florissants in Paris in 2007,
William Christie appointed him Joint
Musical Director of the orchestra; he has
since gone on to lead the orchestra on
tour to major venues such as the Wiener
Konzerthaus, throughout France, to
Salzburg and to China.
MONTEVERDI MADRIGALS CYCLE: As Joint
Musical Director of Les Arts Florissants, he
will also continue to present the complete
cycle of Monteverdi Madrigals in concert.
Spread over nearly 100 concerts, this
monumental project continues into 2015.
The first recording to have come from the
project, entitled Mantua and released on
the Les Arts Florissants label has received
high critical acclaim. The Guardian has
given four stars to the second recording
Cremona, and Gramophone Magazine has
selected it for the Editor’s Choice of its July
issue. This CD has been also awarded the
“Choc du mois” by the music specialized
magazine Classica.
BENNO
S C H AC H T N E R
Countertenor
The native Bavarian
countertenor Benno
Schachtner was the
first countertenor in
the history of the
prestigious Bach
International
Competition in Leipzig
Photo: Benno Schachtner
to receive the title
“Bachpreisträger.” Most
important engagements of the recent
season include a CD recording Water
Music with Capella de la torre in
cooperation with SONY, a concert tour
with Helsinki Baroque Orchestra with René
Jacobs conducting, the revival of Arminio
at the Handel Festival Halle and the role of
Angel/Boy for the Swiss Premiere of
Benjamin’s Written on Skin. Concerts with
Akademie für Alte Musik Berlin will bring
him to Berlin and Munich, scenic
performances of Bach’s St. John Passion
to Brussels and a new production of
Handel’s Sosarme to the Handel Festival
Halle.
T EX T
George Frideric Handel: Messiah
PART THE FIRST
1. Symphony
2. Accompagnato (Tenor)
Comfort ye, comfort ye my people,
saith your God.
Speak ye comfortably to Jerusalem,
and cry unto her, that her warfare is
accomplish’d, that her iniquity is pardon’d.
The voice of him that crieth in the
wilderness: Prepare ye the way of the Lord,
make straight in the desert a highway for
our God. (Isaiah 40:1–3)
3. Air (Tenor)
Ev’ry valley shall be exalted, and ev’ry
mountain and hill made low, the crooked
straight, and the rough places plain. (Isaiah
40:4)
4. Chorus
And the glory of the Lord shall be revealed,
and all flesh shall see it together, for the
mouth of the Lord hath spoken it. (Isaiah
40:5)
5. Accompagnato (Bass)
Thus saith the Lord of Hosts; Yet once a
little while, and I will shake the heav’ns, and
the earth, the sea, and the dry land;
And I will shake all nations; and the desire
of all nations shall come. The Lord, whom
ye seek, shall suddenly come to His temple,
ev’n the messenger of the Covenant, whom
ye delight in: behold, He shall come, saith
the Lord of Hosts. (Haggai 2:6–7; Malachi
3:1)
6. Air (Countertenor)
But who may abide the day of His coming?
And who shall stand when He appeareth?
For He is like a refiner’s fire. (Malachi 3:2)
7. Chorus
And He shall purify the sons of Levi, that
they may offer unto the Lord an offering in
righteousness. (Malachi 3:3)
8. Recitative (Countertenor)
Behold, a virgin shall conceive, and bear
a Son, and shall call His name Emmanuel,
“God with us.” (Isaiah 7:14; Matthew 1:23)
34
SEATTLESYMPHONY.ORG
9. Air and Chorus (Countertenor)
16. Accompagnato (Soprano)
O thou that tellest good tidings to Zion, get
thee up into the high mountain; O thou that
tellest good tidings to Jerusalem, lift up thy
voice with strength; lift it up, be not afraid;
say unto the cities of Judah, Behold your
God! Arise, shine, for thy light is come, and
the glory of the Lord is risen upon thee.
(Isaiah 40:9; 60:1)
And suddenly there was with the angel a
multitude of the heav’nly host praising God,
and saying: (Luke 2:13)
For behold, darkness shall cover the earth,
and gross darkness the people: but the
Lord shall arise upon thee, and His glory
shall be seen upon thee. And the Gentiles
shall come to thy light, and kings to the
brightness of thy rising. (Isaiah 60:2–3)
17. Chorus
Glory to God in the highest, and peace on
earth, good will toward men. (Luke 2:14)
18. Air (Soprano)
Rejoice greatly, O daughter of Zion, shout,
O daughter of Jerusalem; behold, thy King
cometh unto thee: He is the righteous
Saviour, and He shall speak peace unto the
heathen. (Zechariah 9:9–10)
19. Recitative (Countertenor)
11. Air (Bass)
The people that walked in darkness have
seen a great light; and they that dwell in
the land of the shadow of death, upon them
hath the light shined. (Isaiah 9:2)
12. Chorus
For unto us a child is born, unto us a son
is given; and the government shall be
upon His shoulder; and His name shall be
called Wonderful, Counsellor, The Mighty
God, The Everlasting Father, The Prince of
Peace. (Isaiah 9:6)
13. Pifa (Pastoral Symphony)
14a. Recitative (Soprano)
There were shepherds abiding
in the field, keeping watch over their
flock by night.
Then shall the eyes of the blind be open’d,
and the ears of the deaf unstopped, then
shall the lame man leap as a hart, and
the tongue of the dumb shall sing.
(Isaiah 35:5–6)
20. Duet (Countertenor and Soprano)
He shall feed His flock like a shepherd: And
He shall gather the lambs with His arm, and
carry them in His bosom, and gently lead
those that are with young.
Come unto Him, that labour, come unto
Him all ye that are heavy laden, and He will
give you rest.
Take His yoke upon you, and learn of Him;
for He is meek and lowly of heart: and ye
shall find rest unto your souls.
(Isaiah 40:11; Matthew 11:28–29)
21. Chorus
His yoke is easy, His burthen is light.
(Matthew 11:30)
14b. Accompagnato (Soprano)
And lo, the angel of the Lord came upon
them, and the glory of the Lord shone
round about them, and they were sore
afraid. (Luke 2:8–9)
15. Recitative (Soprano)
And the angel said unto them, Fear not: for
behold, I bring you good tidings of great
joy, which shall be to all people. For unto
you is born this day in the city of David,
a Saviour, which is Christ the Lord. (Luke
2:10–11)
INTERMISSION
PART THE SECOND
22. Chorus
Behold the Lamb of God, that taketh away
the sin of the world. (John 1:29)
23. Air (Countertenor)
He was despised and rejected of men, a
man of sorrows, and acquainted
with grief.
He gave His back to the smiters, and His
cheeks to them that plucked off the hair: He
hid not His face from shame and spitting.
(Isaiah 53:3, 50:6)
33. Chorus
24. Chorus
Surely He hath borne our griefs and carried
our sorrows: He was wounded for our
transgressions, He was bruised for our
iniquities; the chastisement of our peace
was upon Him. (Isaiah 53:4–5)
Who is this King of Glory? The Lord strong
and mighty; the Lord mighty in battle.
Who is this King of Glory? The Lord of
Hosts: He is the King of Glory. (Psalms
24:7–10)
Lift up your heads, O ye gates, and be ye
lifted up, ye everlasting doors, and the King
of Glory shall come in.
38. Air (Soprano)
25. Chorus
And with His stripes we are healed.
(Isaiah 53:5)
26. Chorus
All we like sheep have gone astray, we
have turned ev’ry one to his own way;
and the Lord hath laid on Him the iniquity of
us all. (Isaiah 53:6)
All they that see Him laugh Him to scorn;
they shoot out their lips, and shake their
heads, saying: (Psalms 22:7)
28. Chorus
He trusted in God that He would deliver
Him: let Him deliver Him, if He delight in
Him. (Psalms 22:8)
Thy rebuke hath broken His heart; He is full
of heaviness; He looked for some to have
pity on Him, but there was no man, neither
found He any to comfort Him. (Psalms 69:21)
How beautiful are the feet of them that
preach the gospel of peace, and bring glad
tidings of good things. Their sound is gone
out into all lands, and their words into the
ends of the world. (Romans 10:15; Psalms
19:4)
40. Air (Bass)
Why do the nations so furiously rage
together: why do the people imagine a
vain thing?
The kings of the earth rise up, and the
rulers take counsel together against the
Lord, and against His anointed. (Psalms
2:1–2)
41. Chorus
Let us break their bonds asunder, and cast
away their yokes from us. (Psalms 2:3)
Behold, and see, if there be any sorrow like
unto His sorrow! (Lamentations 1:12)
He was cut off out of the land of the living;
for the transgressions of Thy people was
He stricken. (Isaiah 53:8)
32. Air (Tenor)
But Thou didst not leave His soul in hell,
nor didst Thou suffer Thy Holy One to see
corruption. (Psalms 16:10)
45. Air (Soprano)
I know that my Redeemer liveth, and that
He shall stand at the latter day upon the
earth.
And though worms destroy this body, yet
in my flesh shall I see God.
For now is Christ risen from the dead,
the first fruits of them that sleep.
(Job 19:25–26; 1 Corinthians 15:20)
46. Chorus
Since by man came death, by man
came also the resurrection of the dead.
For as in Adam all die, even so
in Christ shall all be made alive.
(1 Corinthians 15:21–22)
Behold, I tell you a mystery: We shall not
all sleep, but we shall all be chang’d, in a
moment, in the twinkling of an eye, at the
last trumpet. (1 Corinthians 15:51–52)
48. Air (Bass)
The trumpet shall sound, and the dead
shall be rais’d incorruptible, and we shall
be chang’d. For this corruptible must put
on incorruption, and this mortal must put on
immortality. (1 Corinthians 15:52–54)
42. Recitative (Tenor)
He that dwelleth in heaven shall laugh
them to scorn; the Lord shall have them
in derision. (Psalms 2:4)
43. Air (Tenor)
30. Arioso (Tenor)
PART THE THIRD
Thou shalt break them with a rod of
iron; Thou shalt dash them in pieces like
a potter’s vessel. (Psalms 2:9)
44. Chorus
Hallelujah, for the Lord God Omnipotent
reigneth. The Kingdom of this world is
become the Kingdom of our Lord and of His
Christ; and He shall reign for ever and ever.
KING OF KINGS, AND LORD OF LORDS.
(Revelation 19:6, 11:15, 19:16)
53. Chorus
Worthy is the Lamb that was slain, and
hath redeemed us to God by His blood,
to receive power, and riches, and wisdom,
and strength, and honor, and glory, and
blessing. Blessing and honor, glory and
pow’r, be unto Him that sitteth upon the
throne, and unto the Lamb, for ever and
ever. (Revelation 5:12–13)
Amen.
Tuesday, December 22, 2015, at 7:30pm
A FESTIVAL OF
LESSONS & CAROLS
HO L IDAY SPECIA LS
Joseph Crnko, conductor
Northwest Boychoir
Vocalpoint! Seattle
Members of the Northwest Sinfonia
The audience is invited to sing along with the songs listed in bold.
Arr. David Willcocks
“Good King Wenceslas”
Arr. Alice Parker
and Robert Shaw
“Susanni”
Arr. Joseph Crnko
“Caroling, Caroling”
FIRST LESSON Genesis III: “God announces,
in the Garden of Eden, that
the seed of woman shall bruise
the serpent’s head”
Arr. David Willcocks
“Ding Dong! Merrily On High”
TRADITIONAL
“O Come, All Ye Faithful”
SECOND LESSON Genesis XXII: “God promises
to faithful Abraham that in his
seed shall all the nations of the
earth be blessed”
BENJAMIN BRITTEN
“Adam Lay I-bounden”
TRADITIONAL
“O Come, O Come Emmanuel”
THIRD LESSON
Isaiah IX: “Christ’s birth and
kingdom are foretold by Isaiah”
PIETRO YON “Gesu Bambino”
TRADITIONAL
“Angels We Have Heard
on High”
FOURTH LESSON Micah V: “The prophet Micah
foretells the glory of little
Bethlehem”
Arr. John Rutter
“Nativity Carol”
TRADITIONAL
“O Little Town of Bethlehem”
FIFTH LESSON
St. Luke I: “The Angel Gabriel
salutes the Blessed Virgin
Mary”
EDVARD GRIEG
“Ave Maris Stella”
TRADITIONAL
“What Child Is This?”
SIXTH LESSON
St. Matthew I: “St. Matthew tells
of the birth of Jesus”
Arr. John Rutter
“Tomorrow Shall Be My Dancing Day
TRADITIONAL
“God Rest Ye Merry,
Gentlemen”
SEVENTH LESSON
St. Luke II: “The Shepherds
go to the Manger”
PHILIP LEDGER
“Away In A Manger”
TRADITIONAL
“The First Noel”
EIGHTH LESSON
St. Matthew II: “The wise men
are led by the star to Jesus”
Arr. Joseph Crnko
“We Three Kings”
FELIX MENDELSSOHN
“Hark! The Herald
Angels Sing”
NINTH LESSON St. John I: “St. John unfolds
the great mystery of the
Incarnation”
Arr. Dale Wood
“In The Bleak Mid-Winter”
FRANZ GRUBER
“Silent Night”
Arr. Joseph Crnko
“O Holy Night”
Tonight’s concert will run without intermission.
A biography of Joseph Crnko may be found on page 22.
Performance ©2015 Seattle Symphony. Copying of any performance by camera, audio or video recording equipment, and any other use of such copying devices during a performance
is prohibited.
36
SEATTLESYMPHONY.ORG
ABOUT A
F E S T I VA L O F
LESSONS &
CAROLS
nearly 40 years, the Northwest
Boychoir has performed A Festival of
Lessons & Carols as the centerpiece
of its holiday season. Beginning with a
single performance in 1978, A Festival
of Lessons & Carols has become a full
concert series presented throughout
the greater Puget Sound region.
Henry Bischofberger Violins
Third Generation Violin Maker
“Voted Evening Magazine’s
Best of Western WA!”
For
performance is patterned after
the Christmas Eve observance at
King’s College in Cambridge, England.
Following the procession of the choir,
introductory carols are sung. Then
nine lessons from the King James
Version of the Bible are read by
members of the choir. Each lesson is
followed by the choir singing a carol
appropriate to the previous reading.
The audience then joins the choir in
singing a traditional Christmas carol.
YOUR CHILD IS
EXCEPTIONAL
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VISIT US AT STTHOMASSCHOOL.ORG
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EVERYDAY MOMENTS
LASTING BEAUTY
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SYMPHONICA,
THE SYMPHONY
S TO R E
Kick off your holiday shopping at
Symphonica, located in The Boeing
Company Gallery. In addition to
Seattle Symphony recordings,
Symphonica is a great place to
find cards, scarves, artisan jewelry,
children’s books, and Seattle
Symphony logo items including
coffee mugs, water bottles, reusable
shopping bags and T-shirts.
Symphonica is open 90 minutes prior
to concerts and Monday through
Friday from 11am to 2pm. For more
information, call 206.215.4796.
OCT 1, 2015 – JAN 10, 2016
GET TICKETS AT VISITSAM.ORG/IMPRESSIONISM
The exhibition is organized by the National
Gallery of Art, Washington, DC.
Presenting Sponsors
Major Sponsors
Special exhibitions at SAM are
made possible by donors to
Corporate Sponsor
Sotheby’s
Picking Flowers (detail), 1875, Auguste Renoir,
French, 1841-1919, oil on canvas, 21 3/8 x 25 11/16
in., National Gallery of Art, Washington, DC,
Ailsa Mellon Bruce Collection.
S I N G -A LO N G LY R I C S
O COME, ALL YE FAITHFUL
O come, all ye faithful, joyful and
triumphant
O come ye, o come ye to Bethlehem
Come and behold Him, born the King of
Angels
O come let us adore Him, o come let us
adore Him
O come let us adore Him, Christ the Lord
Sing, choirs of angels, sing in exultation
Sing all ye citizens of heaven above
Glory to God in the highest
O come let us adore Him, o come let us
adore Him
O come let us adore Him, Christ the Lord
O COME, O COME EMMANUEL O come, o come Emmanuel, and ransom
captive Israel
That mourns in lonely exile here until the Son
of God appear
Rejoice! Rejoice! Emmanuel shall come to
thee o Israel
O come, Thou Key of David, come and open
wide our heavenly home
Make safe the way that leads on high, and
close the path to misery
Rejoice! Rejoice! Emmanuel, shall come to
thee o Israel
ANGELS WE HAVE HEARD ON HIGH
Angels we have heard on high, sweetly
singing o’er the plains
And the mountains in reply, echoing their
joyous strains
Gloria in excelsis Deo, Gloria in excelsis Deo
Come to Bethlehem and see Him whose
birth the angels sing
Come adore on bended knee Christ the Lord
the newborn King
Gloria in excelsis Deo, Gloria in excelsis Deo
O LITTLE TOWN OF BETHLEHEM O little town of Bethlehem, how still we see
thee lie
Above thy deep and dreamless sleep
The silent stars go by
Yet in thy dark streets shineth the everlasting
light
The hopes and fears of all the years
Are met in thee tonight
38
SEATTLESYMPHONY.ORG
O holy Child of Bethlehem, descend to us
we pray
Cast out our sin and enter in
Be born in us today
We hear the Christmas angels, the great glad
tidings tell
O come to us, abide with us
Our Lord Emmanuel
THE FIRST NOEL WHAT CHILD IS THIS? What child is this, who, laid to rest on Mary’s
lap, is sleeping?
Whom angels greet with anthems sweet
While shepherds watch are keeping
This, this is Christ the King, whom shepherds
guard and angels sing
Haste, haste to bring Him laud, the Babe, the
Son of Mary
They looked up and saw a star
Shining in the east beyond them far
And to the earth it gave a great light
And so it continued both day and night
Noel, Noel, Noel, Noel
Born is the King of Israel
So bring Him incense, gold and myrrh
Come peasant, king to own Him
The King of kings, salvation brings
Let loving hearts enthrone Him
Raise, raise your song on high, while Mary
sings a lullaby
Joy, joy for Christ is born, the Babe, the Son
of Mary
GOD REST YE MERRY, GENTLEMEN
God rest ye merry, gentlemen, let nothing
you dismay
For Jesus Christ, our Savior, was born on
Christmas Day
To save us all from Satan’s pow’r when we
were gone astray
O tidings of comfort and joy, comfort and joy!
O tidings of comfort and joy!
Now to the Lord sing praises, all you within
this place
And with true love and brotherhood each
other now embrace
This holy tide of Christmas no other doth
deface
O tidings of comfort and joy, comfort and joy!
O tidings of comfort and joy!
The first Noel, the angels did say
Was to certain poor shepherds in fields as
they lay
In fields where they lay keeping their
sheep
On a cold winter night that was so deep
Noel, Noel, Noel, Noel
Born is the King of Israel
HARK! THE HERALD ANGELS SING
Hark! the herald angels sing, glory to the
newborn King
Peace on earth and mercy mild, God and
sinners reconciled
Joyful all ye nations rise, join the triumph of
the skies
With angelic host proclaim, Christ is born in
Bethlehem!
newborn King
Hail the heav’n-born Prince of Peace, hail the
Son of Righteousness
Light and life to all He brings, risen with
healing in His wings
Mild He lays His glory by, born that man no
more may die
Born to raise the sons of earth, born to give
the second birth
newborn King
SILENT NIGHT Silent night, holy night, all is calm, all is bright
Round yon Virgin Mother and Child, Holy
Infant so tender and mild
Sleep in heavenly peace, sleep in heavenly
peace
Silent night, holy night, shepherds quake at
the sight
Glories stream from heaven afar, heavenly
hosts sing Alleluia
Christ the Savior is born, Christ the Savior is
born
N O R T H W E S T B OYC H O I R & V O C A L P O I N T !
S E AT T L E
Perhaps
best known in the Puget Sound region for its annual A Festival of Lessons and
Carols, the Northwest Boychoir’s musical sophistication, rich tonal quality and dedication to
exacting perfection have established its reputation as one of the nation’s premier boychoirs.
KING FM recently named A Festival of Lessons and Carols one of Top 10 Seattle Concerts
to Attend at Least Once. Along with Vocalpoint! Seattle, the Northwest Boychoir has trained
thousands of young singers for more than 40 years, and more significantly, shaped the lives
of our region’s youth by teaching important lessons in personal commitment and the value
of teamwork. Led by Joseph Crnko, now in his 31st year as music director, the Choir’s staff of
professional musicians and educators is engaged in the teaching of a rigorous curriculum that
trains young singers, 6 to 18 years old, to be fully skilled musicians who sing at the highest
professional level, read music fluently and perform in professional settings with confidence.
For more than 30 years, the Choirs have maintained a close working relationship with
the Seattle Symphony and participate annually in the performance of great choral works
including; Bach’s St. Matthew Passion, Orff’s Carmina burana, Britten’s War Requiem, Berlioz’s
Damnation of Faust, and in concerts such as Danny Elfman’s Music from the Films of Tim
Burton. Performances last season included Mike McCready’s Waking the Horizon, Colin
Matthews’ Pied Piper and Mahler’s Symphony No. 3. Together with the Ladies of Vocalpoint!
Seattle, the Northwest Boychoir shared a 2009 Grammy nomination with the Seattle
Symphony for a recording of Samuel Jones’ The Shoe Bird. In addition to serving as the
official “Singing Ambassadors” of Washington State, the Northwest Boychoir has toured both
nationally and internationally.
Joseph Crnko, Conductor & Music Director
Northwest Boychoir
Ben Allwright
Tigran Avakyan
Henry Barnes
Aimon Benfield-Chand
Dominic Bennett
Donovan Blackham
Max Boyd
Benjamin Butler
Aidan Cazeau
Avery Cole
Julian Collins
Mason Collins
Virgil Collins-Laine
Nathan Condon
Enrique Garcia
Doran Goldman
Greg Guettler
Noah Hawley
Kenan Lauder
Hanri Luo
Keiyu Mamiya
Lukas Mihm
Joe Miller
William Murray
Shane Persaud
Anders Pohlmann
Eli Porter
Ben Puryear
Will Rayment
Leo Rosales
Jordan Scherr
Gabriel Sharp
Layth Stauffer
Aidan Su
William Sweeney
Alex Tanemura
Robert Waltenbaugh
Forrest Wu
Alexander Zuniga
Men of Vocalpoint! Seattle
Evan Anderson
Fletcher Anderson
William Austin
John Austin
Jean-Luc Birchfield
Oliver Cauble
Jackson Cecil
Jacob Espling
Juan Hillon
James Kerrigan
Hugh Killalea
Andrew Kline
Ian Moo
Eric Mueser
Cael Mulligan
Andrew Oh
Jess Olmstead
Thaddeus Perkins
Rob Perlic
Colin Petersdorf
Benjamin Richardson
Altay Sarikaya
Peter Schinske
Soren Smith
Liam Sternberg
Kepler Swanson
Andrew Torgelson
Xander Uyttendaele
Sam Viebrock
Hayden Wainwright
Women of Vocalpoint!
Seattle
Jordan Ball
Corinne Bromagen
Serina Chen
Kaitlyn Condon
Naomi Eidenberg-Noppe
Melvina Fletcher
Lila Forde
Ilona Groenink
Juliette Jones
Siena Mariani
Kaylie McRea
Cami Peterson
Claire Puryear
Sarah Rosoff
Annika Simpson
Amelie Szyperski
Izzy Woods
Madeleine Zeiler
THE NORTHWEST SINFONIA
The
Northwest Sinfonia has established itself as one of the recording industry’s top
symphonic orchestras, with numerous feature film, video game, classical and rock-pop
recording credits since 1995. Primarily a recording orchestra, the Northwest Sinfonia
is made up of the finest players from the Seattle Symphony, Seattle Opera and Pacific
Northwest Ballet. The group is credited with over 100 recordings.
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PROGRAM NOTES
Wednesday, December 30, 2015, at 7:30pm
Thursday, December 31, 2015, at 9pm
NEW YEAR’S EVE: CONCERT, COUNTDOWN & CELEBRATION
Saturday, January 2, 2016, at 8pm
Sunday, January 3, 2016, at 2pm
ENGELBERT
HUMPERDINCK
Prelude to Hansel and Gretel
BEETHOVEN
SYMPHONY NO. 9
BORN:
DIED:
September 27, 1921, in Neustrelitz,
Mecklenburg-Western Pomerian, Germany
HO L IDAY SPE CIALS
WORK COMPOSED:
1890–91
WORLD PREMIERE:
December 23, 1893, in
the Hoftheater in Weimar, Richard Strauss
Corey McKern, baritone
Seattle Symphony
conducting
ENGELBERT HUMPERDINCK Prelude to Hansel and Gretel 7’
RALPH VAUGHAN WILLIAMS Fantasia on Greensleeves / arr. Ralph Greaves
4’
September 1, 1854, in Siegburg, Rhine
Province, Germany
INTERMISSION LUDWIG VAN BEETHOVEN Symphony No. 9 in D minor, Op. 125, “Choral” 1:07’
Allegro ma non troppo, un poco maestoso
Molto vivace
Adagio molto e cantabile
Presto—Allegro assai—Allegro assai vivace
CAITLIN LYNCH, SOPRANO
SASHA COOKE, MEZZO-SOPRANO
DANIEL SHIRLEY, TENOR
COREY MCKERN, BARITONE
Biographies for Joseph Crnko and the Seattle Symphony Chorale may be found
on pages 22 and 23.
Media Sponsor: Classical KING FM 98.1
New Year’s Eve Midnight toast sponsored by: Treveri Cellars
Performance ©2015 & 2016 Seattle Symphony. Copying of any performance by camera, audio or video recording
Engelbert Humperdinck was among
many composers (e.g., Handel and
Schumann) whose parents tried to
dissuade their gifted son from pursuing
a career in music. By age seven the lad
had already composed music; four years
later two Singspiels (German operas
with spoken dialogue between musical
numbers) had joined the canon of his
musical efforts. Like children worldwide
Humperdinck loved fairy tales, a passion
he never abandoned. When his sister
suggested that he compose songs based
on the classic Grimm fairytale Hansel
and Gretel he more than accommodated
her request, eventually expanding the
music into a full-fledged opera that has
captivated audiences ever since.
The popular Prelude — Humperdinck
preferred the term to “overture” —
opens with burnished tones dressed in
Wagnerian garb, soon followed by warm
commentary from strings and eventually
winds. A quicker-paced episode follows,
suggesting childhood frivolity. A new
strings-led lyrical section follows, itself
alternating with bouncy material before
the opening chorale-like fanfare makes a
brief reappearance. Energetic passages
intervene between lyrical episodes. Like
many preludes (or overtures), songs and
dance music from the opera supply the
rich thematic material.
Scored for piccolo, 2 flutes, 2 oboes,
2 clarinets and 2 bassoons; 4 horns, 2
trumpets, 3 trombones and tuba; timpani,
percussion and strings.
by Steven Lowe
Fantasia on Greensleeves,
arr. Ralph Greaves
BORN:
M U S I C
W E
T H E
F E E D S
C A N
T H E
H E L P
R E S T
O F
S O U L .
W I T H
Y O U .
October 12, 1872, in Down Ampney,
A D S Q U A R E D C O M PA N Y
R A L P H VAU G H A N
WILLIAMS
Gloucestershire, England
DIED:
August 26, 1958, in London
WORK COMPOSED:
1913; revised 1919 and
1928
WORLD PREMIERE:
1934 (Greaves
arrangement)
Greensleeves has been around since
at least the 16th century. Shakespeare
mentions it twice in The Merry Wives
of Windsor, and it appeared widely
throughout the 17th century in both song
and lute publications. In the 19th century
it assumed new lyrics as “What Child is
This?” and became integral to our own
Christmas tradition, a somewhat ironic
touch since its earliest lyrics suggest
that it was a paean to a rather loose
woman. Vaughan Williams used the tune
several times, most notably in his opera
Sir John in Love, which was based on
Shakespeare’s above-mentioned play.
In 1934 Ralph Greaves grafted passages
from various previous Vaughan Williams
incarnations — especially from Sir
John in Love — of the familiar tune and
created the Fantasia on Greensleeves,
surely one of the most popular short
orchestral works on the past century. Its
delicate scoring for strings and harp, and
Vaughan William’s great sensitivity to
mood and nuance, impart to it a depth of
utterance belied by its brevity.
Chef Daniel Cox
START YOUR NIGHT AT THE SYMPHONY
WITH DINNER AT BENAROYA HALL.
Scored for 2 flutes, harp and strings.
Choose the dinner-club elegance of Muse,
tucked away upstairs in our Norcliffe Founders Room,
or nouveau barbecue and other craveable
creations from Davids & Co., in The Boeing Company Gallery.
Both offer delicious fare, attentive service,
and the convenience of being just steps from your seat.
AT B E N A ROYA HA L L
PROGRAM NOTES
LU D W I G VA N
B E E T H OV E N
Symphony No. 9 in D minor, Op. 125,
“Choral”
BORN:
DIED:
December 16, 1770, in Bonn
1822–24
WORLD PREMIERE:
May 7, 1824, in Vienna,
Beethoven conducting
In his Ninth Symphony, Beethoven
ambitiously redefined the scope and
nature of the symphony format. In
so doing he provided the model for
succeeding generations of composers
to emulate or assimilate. Beginning
with his third symphony, the “Eroica,”
Beethoven began to transform the
symphony from an objective musical
form to a philosophical, emotional and
even spiritual statement about the nature
of mankind. With the Ninth, the extramusical message required Beethoven
to add a sung text that expressed the
democratic ideals that emerged during
the Enlightenment of the late 18th century
and which would furnish the energy for
much of the political and social upheavals
of the Romantic era and beyond.
Subsequent composers drew inspiration
and direction from the Ninth. Many of
Bruckner’s symphonies begin with a
similar evocation of primordial chaos out
of which his musico-spiritual universe
forms. The Overture to Wagner’s Flying
Dutchman begins with “hollow fifths”
that absolutely mirror the opening of
the Ninth. Brahms’ First Piano Concerto
and Dvořák’s Seventh Symphony begin
portentously in the nether regions of
the orchestra in a manner that obviously
hearkens back to the opening minutes
of the Ninth Symphony — same key too!
Mahler follows suit, as well, particularly
in his Resurrection Symphony, but
elsewhere as well. Needless to say,
both Bruckner and Mahler certainly took
the Ninth’s prodigious length to heart,
producing several symphonies that
actually dwarf Beethoven’s in duration.
Much of the Symphony dates from
1822–23, but sketches reveal that he
was already drafting the beginning of
the vast opening movement as early as
1816. The idea of incorporating Schiller’s
An die Freude (“To joy,” written in 1785)
came to the composer earlier still, in
1793, well before he had composed his
First Symphony. Of the original poem’s
18 sections Beethoven selected about
half, rearranging and repeating stanzas
to fit his own musical conception.
March 27, 1827, in Vienna
WORK COMPOSED:
42
continued
SEATTLESYMPHONY.ORG
The story of the premiere of the Ninth
Symphony is the stuff of legend.
Beethoven was almost completely
deaf (though insisted on conducting
anyway) and had to be turned toward
the audience by the mezzo-soprano
soloist, Caroline Unger, to witness the
enthusiastic applause accorded him by
the attending audience. Their response
must have seemed especially reassuring
since Beethoven had to be persuaded
to give the first performance in Vienna.
He had expressed serious doubts about
Viennese receptivity in the 1820s, so
enamored were the Austrian capital’s
citizens of Italian opera to the exclusion
of “serious” symphonic music. At
rehearsals, in fact, Beethoven refused to
simplify the vocal parts, telling the singers
they had been spoiled by performing
too much Italian music. Lest we think that
Beethoven thought only about artistic
issues, Anton Schindler (the composer’s
friend and early biographer) reported that
Beethoven fainted when he learned how
little money was made by the concert.
The awe-inspiring and epic first
movement seems even vaster in scale
than its length suggests. The opening
tremolo-like figure in strings serves as a
kind of painterly wash filled in initially by
open fifths intoned by the brass before
the initial theme tentatively unfolds with
a tonality-defining minor or major third
(F or F-sharp). Even when he finally
enters an F-natural about half a minute
into the movement, establishing D minor
as the home key, the swirling orchestral
figures almost conjure up the aural
equivalent of an interstellar nebula in
the earliest stages of coalescing into an
astral body. The basic intervals of the
primary theme, D, F, A and the octave D,
form an example of an Ur tema, a kind of
thematic nugget made of from the notes
that define a triad; this kind of “tune” (if
we may call it that) is a uniquely German/
Austrian construct having its roots in
Haydn but extending forward through
Bruckner, Mahler and Richard Strauss
(as in the opening minutes of
Also sprach Zarathustra).
The sense of enormous space and
time also derives from how Beethoven
tends to resolve harmonic sequences
on weak beats, which adds to the effect
of continual motion. There are virtually
no cadences, or resting points, either,
furthering the sense of a long, arduous
journey through the dark anguish of
D minor. To emphasize the funereal
aspects of this massive conception,
Beethoven introduces a strangely
affecting chromatic theme in the lengthy
coda, its half-step descents no-doubt
recognizable to his contemporaries
as a symbol of death. (Think of Dido’s
“Lament” from Purcell’s Dido and Aeneas
and the Crucifixus from Bach’s Mass in B
minor for two earlier examples.)
The exhausting and relentlessly dramatic
opening movement does not lead to the
“expected” slow movement, but instead
yields to a manic scherzo whose main
theme is articulated not only by the usual
orchestral suspects, but by the timpani
in the third (of four) rhythmic thrusts that
make up the motif. The Trio in duple
meter consists of variations in which a
short, folk-like tune is repeated over and
over with different accompanying figures
and harmonies.
A rapt and constantly searching Adagio
grows from two related themes, one
in B-flat, the other in D major, and both
receive full variation treatment by one
of the great masters of that form. The
moods of this movement vacillate
between serenity and aspiration
to perhaps a higher spiritual state
suggested by upwardly reaching violin
figurations. The enormous contrast
between this slowly unfolding, reflective
and warmly human movement and
the energetic, even manic, preceding
scherzo enhances the scope of the
symphony ever further.
The unusual (and famously familiar)
finale opens with a harshly dissonant
Schrekensfanfare (“shrieking fanfare”)
fashioned from the unstable commingling
of D minor and B-flat major chords; when
repeated further along, it has been
changed into a new-fangled chord made
from all the notes of a D minor scale.
Even as radical a composer as Berlioz felt
T E X T & T R A N S L AT I O N
uneasy about these dissonant chords,
wondering if they were “an infringement
on the dignity of art.” In between these
outbursts, the music resembles an
operatic recitative, though played on
instruments rather than sung. After the
second dissonant blast, Beethoven
slowly unveils his trump card, the wellloved “Ode to Joy” theme, here initiated
by a solo orchestral cello.
The movement is a vast set of variations
on the “Ode” tune. The first three
variations are purely instrumental,
the only changes deriving from the
addition of harmonic accompaniments.
The melody itself remains as originally
stated. Not quite literal quotations of
themes from the first three movements
reinforce the notion of a journey through
time, space and ultimately resolution in
triumphant D major glory — the key of the
“Hallelujah!” chorus and the Gloria from
the B minor Mass.
The unfolding of the variations seems
to embrace the whole range of human
experience, touching upon bumptious
rusticity, a “Turkish” march, massed
choral voices, individual arioso solos, a
musical tour de force in the guise of an
enormous double fugue, and so on. In its
very inclusiveness the finale of the Ninth
Symphony seems a prescient evocation
of what Mahler would say eight decades
hence, that the symphony is indeed
a world. No other work approaches
Beethoven’s Ninth in its heartfelt
humanity and ultimate optimism, another
powerful reason it continues to hold sway
in our collective heart.
Scored for piccolo, 2 flutes, 2
oboes, 2 clarinets, 2 bassoons and
contrabassoon; 4 horns, 2 trumpets and
3 trombones; timpani, percussion and
strings.
© 2015 Steven Lowe
Ludwig van Beethoven / Text by Friedrich Schiller
Symphony No. 9 in D minor, Op. 125, “Choral”
O Freunde, nicht diese Töne!
Sondern lasst uns angenehmere
anstimmen, und freudenvollere!
O friends, no more of these sad tones!
Let us rather raise our voices together
In more pleasant and joyful tones!
Freude, schöner Götterfunken,
Tochter aus Elysium
Wir betreten feuertrunken,
Himmlische, dein Heiligtum!
Deine Zauber binden wieder,
Was die Mode streng geteilt;
Alle Menschen werden Brüder,
Wo dein sanfter Flügel weilt.
Joy, thou shining spark of God,
Daughter of Elysium!
With fiery rapture, goddess,
We approach thy shrine.
Your magic reunites those
Whom stern custom has parted,
All men will become brothers
Under your protective wing.
Wem der grosse Wurf gelungen,
Eines Freundes Freund zu sein,
Wer ein holdes Weib errungen,
Mische seinen Jubel ein!
Ja, wer auch nur eine Seele
Sein nennt auf dem Erdenrund!
Und wers nie gekonnt, der stehle
Weinend sich aus diesem Bund!
Let the man who has had the fortune
To be a helper to his friend,
And the man who has won a noble woman,
Join in our chorus of jubilation!
Yes, even if he holds but one soul
As his own in all the world!
And let the man who knows nothing of this
Steal away alone in sorrow!
Freude trinken alle Wesen
An den Brüsten der Natur;
Alle Guten, alle Bösen
Folgen ihrer Rosenspur.
Küsse gab sie uns und Reben,
Einen Freund, geprüft im Tod;
Wollust ward dem Wurm gegeben,
Und der Cherub steht vor Gott!
All the world’s creatures draw
Draughts of joy from Nature’s breast;
Both the just and the unjust
Follow in her gentle footsteps.
She gave us kisses and wine
And a friend loyal unto death;
She gave the joy of life to the lowliest,
And to the angels who dwelt with God!
Froh, wie seine Sonnen fliegen
Durch des Himmels prächt’gen Plan,
Laufet, Brüder, eure Bahn,
Freudig wie ein Held zum Siegen.
Joyous, as His suns speed
Through the glorious order of Heaven,
Hasten, brothers, on your way
Of joyous deeds to victory.
Seid umschlungen, Millionen!
Diesen Kuss der ganzen Welt!
Brüder! Überm Sternenzelt
Muss ein lieber Vater wohnen.
Ihr stürzt nieder, Millionen?
Ahnest du den Schöpfer, Welt?
Such’ ihn überm Sternenzelt!
Über Sternen muss er wohnen.
Be embraced, all ye millions!
With a kiss for all the world!
Brothers, beyond the stars
Surely dwells a loving Father.
Do you kneel before Him, O millions?
Do you feel the Creator’s presence?
Seek Him beyond the stars!
He must dwell beyond the stars.
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ANDREW GRAMS
C A I T L I N LY N C H
DA N I E L S H I R L E Y
Conductor
Soprano
Tenor
FORTE: With a unique
combination of intensity,
enthusiasm and
technical clarity,
American conductor
Andrew Grams has
steadily built a
reputation for his
Photo: Masataka Suemitsu
dynamic concerts and
long-term orchestra
building. Grams has led orchestras
throughout the United States including the
Baltimore Symphony Orchestra, Chicago
Symphony, Cincinnati Symphony, The
Dallas Symphony, Detroit Symphony, the
Houston Symphony, National Symphony
Orchestra, The Philadelphia Orchestra and
the St. Louis Symphony. He served as
Assistant Conductor of The Cleveland
Orchestra from 2004–2007 where he
worked under the guidance of Franz
Welser-Möst, and has since returned for
several engagements.
Declared “luminous”
by The New York
Times and “eloquent”
by the Wall Street
Journal, rising star
soprano Caitlin Lynch
is astonishing
audiences with her
Photo: Arielle Doneson
inspiring portrayals of
canonic roles
encompassing a diverse blend of leading
ladies. This season Lynch sings The
Countess in Le nozze di Figaro with
Seattle Opera, returns to The Metropolitan
Opera for Le nozze di Figaro and Die
Entführung aus dem Serail, Dvořák’s
Stabat Mater with Omaha Symphony, and
an exciting new staging of Jake Heggie’s
Out of Darkness with Music of
Remembrance in San Francisco. In future
seasons Lynch will make a debuts at
English National Opera and The
Garsington Festival.
Championing a diverse
and challenging
repertoire which spans
from the early Baroque
to the avant-garde,
tenor Daniel Shirley is
emerging as an
audience favorite on
opera and concert
stages. Of a recent
performance as Prunier in Puccini’s La
rondine critics hailed: “When Shirley was
onstage it was hard to take one’s eyes off
him. He seemed to be constantly moving
and the voice is so pure that even in the
softer passages he makes a very
memorable impression.” This season he
will be performing Of Mice and Men as the
Ballad Singer with Austin Opera, Handel’s
Messiah with Carolina Philharmonic
Orchestra and Omaha Symphony, and
Mahler’s Das Lied von der Erde with
Firebird Arts Alliance.
SASHA COOKE
COREY MCKERN
Mezzo-soprano
Baritone
Grammy Awardwinning mezzosoprano Sasha Cooke
has been called a
“luminous standout”
(New York Times) and
“equal parts poise,
radiance and elegant
Photo: Dario Acosta
directness” (Opera
News). Symphonic
engagements of Cooke’s 2015–2016
season include performances with the
Louisiana Philharmonic, Mormon
Tabernacle Choir, Nashville Symphony,
National Arts Centre Orchestra, New World
Symphony, San Francisco Symphony,
Seattle Symphony, Singapore Symphony
Orchestra and the Tucson Symphony. A
frequent performer of contemporary
works, Cooke’s season features the world
premieres of Marc Neikrug’s CantaConcerto with the New York Philharmonic,
and Mark Grey’s operatic adaption of
Frankenstein at La Monnaie in Brussels.
Her other operatic engagements this
season include her role debuts as
Magdalena in Wagner’s Die Meistersinger
von Nürnberg with San Francisco Opera,
and as Medoro in Handel’s Orlando with
The English Concert.
Award-winning
baritone Corey McKern
continuously earns
critical acclaim and
accolades in every
appearance he makes.
“Corey McKern… has
all the goods to rise to
Photo:
star stature — timing,
stamina, vocal heft and
an easy-going stage presence —
especially telling in Figaro’s signature aria,
‘Largo al factotum della citta.’” Last
season’s projects took McKern to the San
Juan Symphony for a concert of arias and
duets; the Phoenix Symphony, Alabama
Symphony and Milwaukee Symphony all
for Carmina Burana, a piece he debuted
the previous season with Seattle
Symphony; a turn at the role of Sharpless
in Madama Butterfly with Atlanta Opera; a
return to Opera Birmingham for Hamlet by
the French composer Ambroise Thomas;
and a reprisal of Zurga in Les pêcheurs de
perles with Florida Grand Opera.
BACKGROUND & EDUCATION: Born in
Severn, Maryland, Grams began studying
the violin when he was eight years old.
In 1999 he received a Bachelor of Music
in Violin Performance from The Juilliard
School, and in 2003 he received a
conducting degree from the Curtis Institute
of Music where he studied with OttoWerner Mueller. He was selected to spend
the summer of 2003 studying with David
Zinman, Murry Sidlin and Michael Stern at
the American Academy of Conducting at
Aspen and returned to that program again
in 2004.
CONDUCTING ABROAD: A frequent traveler,
Grams has worked extensively with
orchestras internationally, including the
Toronto Symphony Orchestra, Montreal
Symphony Orchestra, Vancouver Symphony
Orchestra, National Arts Centre Orchestra
Ottawa, Orchestre National de France,
Orchestre National de Lyon, Orchester
der Beethovenhalle Bonn, BBC Symphony
Orchestra London, BBC Scottish Symphony
Orchestra, Royal Scottish National
Orchestra, City of Birmingham Symphony
Orchestra, BBC National Orchestra of
Wales, Sydney Symphony, Melbourne
and Adelaide Symphony Orchestras,
New Zealand Symphony Orchestra,
Orchestra dell’Accademia di Santa Cecillia,
Netherlands Radio Philharmonic Orchestra,
Residentie Orchestra, Hamburg Symphony
Orchestra, Oslo Philharmonic, Bergen
Philharmonic Orchestra and the Malmö
Symphony Orchestra.
S EAT T L E SYMPHONY DONORS
PRINCIPAL BENEFACTORS
PRINCIPAL MUSICIANS CIRCLE
The Seattle Symphony acknowledges with gratitude the
following donors who have made lifetime commitments
of more than $1 million as of October 20, 2015.
The following donors have generously underwritten the
appearances of principal musicians this season.
4Culture
Dr.* and Mrs. Ellsworth C. Alvord, Jr.
Andrew W. Mellon Foundation
ArtsFund
ArtsWA
Beethoven, A Non Profit Corporation/Classical KING
FM 98.1
Alan Benaroya
Larry and Sherry Benaroya
The Benaroya Family
The Boeing Company
C.E. Stuart Charitable Fund
Charles Simonyi Fund for Arts and Sciences
Leslie and Dale Chihuly
The Clowes Fund, Inc.
Priscilla Bullitt Collins*
Jane and David R. Davis
Delta Air Lines
Estate of Marjorie Edris
Judith A. Fong and Mark Wheeler
The Ford Foundation
Dave and Amy Fulton
William and Melinda Gates
Lyn and Gerald Grinstein
Illsley Ball Nordstrom Foundation
Kreielsheimer Foundation
The Kresge Foundation
Marks Family Foundation
Bruce and Jeanne McNae
Microsoft Corporation
Microsoft Matching Gifts Program
M.J. Murdock Charitable Trust
National Endowment for the Arts
Nesholm Family Foundation
The Norcliffe Foundation
PONCHO
James and Sherry Raisbeck
Gladys* and Sam* Rubinstein
S. Mark Taper Foundation
Jeff and Lara Sanderson
Seattle Office of Arts & Culture
Seattle Symphony Foundation
Seattle Symphony Women’s Association
Leonard and Patricia Shapiro
Samuel* and Althea* Stroum
Dr. Robert Wallace
Joan S. Watjen, in memory of Craig M. Watjen
Arlene A. Wright
Virginia and Bagley* Wright
Anonymous (5)
*In Memoriam
GUEST ARTISTS CIRCLE
The following donors have generously underwritten the
appearances of guest artists this season.
Judith A. Fong and Mark Wheeler
Jean-François and Catherine Heitz
Ilene and Elwood Hertzog
Douglas F. King
Dana and Ned Laird
Marcus and Pat Meier
Sheila B. Noonan and Peter M. Hartley
James and Sherry Raisbeck
Grant and Dorrit Saviers
Mel and Leena Sturman
The Atsuhiko and Ina Goodwin Tateuchi Foundation
Muriel Van Housen and Tom McQuaid
46
SEATTLESYMPHONY.ORG
Sue and Robert Collett
Paul Leach and Susan Winokur
Sheila B. Noonan and Peter M. Hartley
Patricia Tall-Takacs and Gary Takacs
SYMPHONY MUSICIANS CIRCLE
The following donors have generously sponsored a
section musician this season.
Stephen Elop
Hot Chocolate Fund
Mr. and Mrs. Richard Moore
Melvyn and Rosalind Poll
Norm and Elisabeth Sandler/The Sandler Foundation
Thank you to Judith A. Fong for providing matching
funds for this new program. For more information about
musician sponsorship, please contact Becky Kowals at
206.215.4852.
INDIVIDUALS
The Seattle Symphony gratefully recognizes the
following individuals for their generous Annual Fund
and Special Event gifts through October 20, 2015. If
you have any questions or would like information about
supporting the Seattle Symphony, please visit us online
at seattlesymphony.org/give or contact Donor Relations
at 206.215.4832.
Thank you for your support. Our donors make it all
possible!
STRADIVARIUS CIRCLE
Platinum ($250,000+)
The Benaroya Family ^ 15
Leslie and Dale Chihuly o 15
Judith A. Fong and Mark Wheeler o 5
Marks Family Foundation o 5
Anonymous (2)
Gold ($100,000 – $249,999)
Lenore Hanauer 15
Jean-François and Catherine Heitz o 10
David J. and Shelley Hovind ^ 10
Jeff Lehman and Katrina Russell o 5
Joan S. Watjen, in memory of Craig M. Watjen 15
Silver ($50,000 – $99,999)
Cheryl and Richard Bressler 15
Dr. Susan Detweiler and Dr. Alexander Clowes* 15
Dave and Amy Fulton ^ 5
Lynn and Brian Grant Family o 5
Dr. Kennan H. Hollingsworth ^ 15
Jeffrey S. Hussey o
Paul Leach and Susan Winokur 15
Marcus and Pat Meier 5
Sheila B. Noonan and Peter M. Hartley o 15
Norm and Elisabeth Sandler/The Sandler Foundation
Martin Selig and Catherine Mayer o ^
H.S. Wright III and Katherine Janeway 15
Anonymous (1)
Bronze ($25,000 – $49,999)
Elias and Karyl Alvord
Drs. Jim and Sue Bianco o
Children Count Foundation 5
William O. and K. Carole Ellison Foundation
Katharyn Alvord Gerlich 15
Dr. Martin L. Greene o 5
Lyn and Gerald Grinstein ^ 15
Ilene and Elwood Hertzog o 15
Douglas F. King 15
Dana and Ned Laird o 15
Harold Matzner
Jean McTavish 15
Pamela Merriman 5
Linda Nordstrom 15
James and Sherry Raisbeck 10
Grant and Dorrit Saviers 5
Mel and Leena Sturman
The Atsuhiko and Ina Goodwin Tateuchi Foundation 5
Muriel Van Housen and Tom McQuaid
Stephen and Leslie Whyte o 5
Virginia and Bagley* Wright ^ 15
MAESTROS CIRCLE
Gold ($15,000 – $24,999)
Richard and Constance Albrecht ^ 15
Chap and Eve Alvord 15
Warren A. and Anne G. Anderson 5
Bob and Clodagh Ash ^ 15
Sue and Robert Collett ^ 15
Martine and Dan Drackett
Barney Ebsworth and Rebecca Layman-Amato o
Kathy Fahlman Dewalt and Stephen R. Dewalt o 5
Jerald Farley 15
Richard and Elizabeth Hedreen 15
Charles E. Higbee, MD and Donald D. Benedict 15
Chuck and Pat Holmes ^ 10
Hot Chocolate Fund 5
Nader and Oraib Kabbani o
Susan Shanbrom Krabbe and Moe Krabbe 15
Dawn Lepore and Ken Gladden o 5
Edmund W. Littlefield, Jr. and Laura Littlefield
Richard and Francine Loeb
Kjristine R. Lund o 5
Yoshi and Naomi Minegishi ^ 15
Robert Moser
Dick and Joyce Paul o 5
Sally G. Phinny ^ 5
Patricia and Jon Rosen o 5
Seattle Symphony Volunteers
Anonymous (3)
Silver ($10,000 – $14,999)
Claire Angel o 5
Peter Russo and Kit Bakke
Brooke Benaroya and Josh Dickson
Larry and Sherry Benaroya o
Berwick Degel Family Foundation 5
Thomas and Susan Bohn 15
Paul B. Brown and Margaret A. Watson o 5
Jane and David R. Davis ^ 15
Stephen Elop
Brittni and Larry Estrada o
Senator and Mrs. Daniel J. Evans o 15
Henry M. Finesilver 5
Natalie Gendler 15
Neil M. Gray and Meagan M. Foley 10
Dustin and Michelle Ingalls 10
Juniper Foundation 10
Janet Wright Ketcham Foundation 5
Will and Beth Ketcham o
Michael King and Nancy Neraas 5
Stephen Kutz o 5
Rhoady* and Jeanne Marie Lee 10
Dr. Pierre and Mrs. Felice Loebel ^ 15
Everil Loyd, Jr. 5
Jerry Meyer
The Mitrovich Family 5
Mr. and Mrs. Richard Moore 10
The Nakajima Family
Erika J. Nesholm
John and Laurel Nesholm o 15
Melvyn and Rosalind Poll 5
Jane and James Rasmussen 15
Tom and Teita Reveley 15
Jon and Judy Runstad ^ 5
Douglas and Theiline Scheumann
Amy Sidell 15
Donald and Mary Anne Strong 15
Patricia Tall-Takacs and Gary Takacs ^ 15
Betty Tong 5
S EAT T L E
SY MP H O N Y
DO N ORS
M. Barton Waring 5
Selena and Steve Wilson 15
Arlene A. Wright ^ 15
Mr. and Mrs. David C. Wyman
Anonymous (5)
FOUNDERS CIRCLE
Gold ($7,500 – $9,999)
Molly and Marco Abbruzzese o 15
Robert Bismuth
Rosanna Bowles o
Renée Brisbois and Jay Burrell o
Barbara A. Cahill 5
Jonathan Caves and Patricia Blaise-Caves 5
Jean Chamberlin o
John Delo and Elizabeth Stokes 15
Dragonfish Asian Cafe
Foster/White Gallery
Dr. and Mrs. Theodore Greenlee, Jr. 15
Patty Hall o 15
Joaquin and Jennifer Hernandez o
Ben Kolpa and Angelisa Paladin
Dr. Ryo and Kanori Kubota o
Flora Ling and Paul Sturm
Gary and Susan Neumann 15
Eric and Margaret Rothchild Charitable Fund 5
Diane and Mark Rubinstein 5
Michael Slonski o 5
Hope and Richard Stroble
Gary and Karla Waterman ^
Mark Wissman and Christine Coté-Wissman
Anonymous (4)
Mirabella
Put yourself in
the middle of it.
Silver ($5,000 – $7,499)
Jim and Catherine Allchin 15
John and Joan Baker 10
Donna Benaroya 5
Leslie and Michael Bernstein 5
Capt. and Mrs. Paul Bloch 5
Barbara BonJour 15
Jim and Marie Borgman 15
Jeffrey and Susan Brotman 15
Amy Buhrig o 5
Susan Y. Buske 5
David Clark
Steven and Judith Clifford 5
Ida Cole
Samuel and Helen Colombo 15
David and Christine Cross 5
Carl de Marcken and Marina Meila
Dr. Geoffrey Deschenes and Dr. Meredith Broderick
Liz and Miles Drake 5
David and Dorothy Fluke ^ 15
William E. Franklin
Diana P. Friedman
Karen Gamoran
Bob and Eileen Gilman Family Foundation 10
D. Wayne* and Anne E. Gittinger
Sebastian Gunningham
Doug and Barbara Herrington
Margaret M. Hess
Glen and Ann Hiner
Bob and Melinda Hord
Walt and Elaine Ingram o
JNC Fund
Charles and Joan Johnson 10
Sally Schaake Kincaid
SoYoung Kwon and Sung Yang o 5
Jon and Eva LaFollette 5
Mark H. and Blanche M. Harrington Foundation 15
Corrinne Martin
Craig McKibben and Sarah Merner
Christine B. Mead 5
Richard Meyer and Susan Harmon
Carolyn R. Miller 15
Alison Milliman
Reid and Marilyn Morgan ^ 15
Cookie and Ken Neil o
Susan and Brian Olsavsky
John and Deanna Oppenheimer
Bob and Annette Parks
Mr. and Mrs. Charles M. Pigott 10
Mr. and Mrs. W. H. Purdy 15
Douglass and Katherine Raff 15
Dick and Alice Rapasky 10
Bernice Mossafer Rind ^
Heather and Michael Sandoval
Mr.* and Mrs. Herman Sarkowsky ^ 15
Haim N. Schoppik
John F. and Julia P.* Shaw ^ 15
Frank and Harriet* Shrontz 15
Burnley and Jim Snyder
Linda Stevens ^ 15
John and Sherry Stilin 10
Sympaticos
Hans and Joan* van der Velden 15
Dr. Robert Wallace
Ronald and Devorah Weinstein 5
Robert and Leora Wheeler 15
Simon Woods and Karin Brookes +
Martha Wyckoff-Byrne and Jerry Tone
Anonymous (3)
Bronze ($3,500 – $4,999)
John and Andrea Adams
Alina Kostina Violins
Carole Rush and Richard Andler 5
Lucius* and Phoebe Andrew 15
Bill and Nancy Bain ^
Dr. C. Bansbach
Carol Batchelder 15
Phillip and Karla Boshaw
Alexandra Brookshire and Bert Green ^ 15
Zane and Celie Brown 10
Steve and Sylvia Burges 10
Cogan Family Foundation 5
James and Barbara Crutcher
Cami and Ray Davis
Cindy Dobrow
Jim and Gaylee Duncan
Judith Feigin-Faulkner and Colin
Faulkner
Ernest and Elizabeth Scott Frankenberg 5
Jean Gardner ^ 15
Doris H. Gaudette 15
Michele and Bob Goodmark
Donald G. Graham, Jr. 15
Barbara Hannah and
Ellen-Marie Rystrom 15
Jane Hargraft and Elly Winer + 5
Michèle and Dan Heidt 5
Deena J. Henkins
Dick and Nora Hinton
Jeanne Kanach
Karen Koon 5
Drs. Kotoku and Sumiko Kurachi
Martha and Eugene Lee
Steve and Donna Lewis 15
Judsen Marquardt and Constance Niva
Ian and Cilla Marriott 15
Justine and John Milberg
Dan Savage and Terry Miller
Ryan Mitrovich
Laina and Egon Molbak 15
Mr. and Mrs. Richard Moore 10
Rena and Kevin O’Brien
Steven C. Phelps
Dr. and Mrs. Richard D. Prince 15
Sue and Tom Raschella ^ 15
E. Paul and Gayle Robbins 5
Chuck and Annette Robinson 10
Sharon Robinson 5
Mike and Marcia Rodgers
Dr. and Mrs. Werner E. Samson 5
Jeffrey C. Sherman
Buz and Helen Smith 15
Nepier Smith and Joan Affleck-Smith
48
SEATTLESYMPHONY.ORG
Ms. Barbara Snapp and Dr. Phillip
Chapman
Margaret W Spangler 15
Sonia Spear 15
Lorna Stern 15
Maryanne Tagney
David Tan and Sherilyn Anderson-Tan
S. Vadman 5
Jean Baur Viereck 5
Steve Vitalich
Charlie Wade and Mary-Janice ConboyWade +
M. Elizabeth Warren 5
Mr. and Mrs. Michael Werner
Kenneth and Rosemary Willman
Anonymous (4)
Conductors Club ($2,000 – $3,499)
Bill and Janette Adamucci
Harriet and Dan Alexander
Terry Allen
Mike and Sumi Almquist
Susan Y. and Charles G. Armstrong ^
Tiffany Ashton and Curtis Freet
Richard Barbieri and Lyn Tangen
Mr. Charles Barbour and Mrs. Diana L.
Kruis
Tom Barghausen and Sandy Bailey
Patty and Jimmy Barrier
Chris and Cynthia Bayley ^
Natalie and Michael Bayne
Bob and Bobbi Bridge
Claire and Aaron Burnett
Craig and Jean Campbell 15
Mr. and Mrs. Ross Comer 5
Rosalie Contreras and David Trenchard + 5
Jeffrey and Susan Cook
Scott and Jennifer Cunningham
T. W. Currie Family 10
Dr. Bob Day 5
Frank and Dolores Dean 15
Anthony DiRe
Daniel and Roberta Downey
Laurie Minsk and Jerry Dunietz
Dr. Lewis and Susan Edelheit
Educational Legacy Fund
Andrew Faulhaber 5
Mr.* and Mrs.* Jim Faulstich
Gerald B. Folland
Sandra and Tom Gaffney 5
Richard and Jane Gallagher
William Gates Sr. and Mimi Gates
Catherine B. (Kit) Green 10
Lucia and Jeffrey Hagander 5
Molly and Mike Hanlon
Frederick and Catherine Hayes 15
Terrill and Jennifer Hendrickson 5
Harold and Mary Fran Hill 10
Liz Hilton
Thomas Horsley and Cheri Brennan
Mr. Daniel Kerlee and Mrs. Carol
Wollenberg 10
Michael Klein and Catherine Melfi
Albert and Elizabeth Kobayashi 15
Brian and Peggy Kreger 10
Timothy Krueger
Bryan Lung
Mark P. Lutz 15
Marilyn Madden 10
Louisa and Scott Malatos
Michael and Barbara Malone
Bret Marquardt and Gerald Nelms
Ken and Robin Martin
Diane Mayer
Bill and Colleen McAleer 10
Ashley O’Connor McCready and Mike
McCready
Drs. Pamela and Donald Mitchell 15
Chie Mitsui 5
Ms. Mary Ellen Mulder
Leone Murphy 10
Bruce and Jeannie Nordstrom
Isabella and Lev Novik
Jerald E. Olson 15
Mr. and Mrs. Thomas Olson
Path Forward Leadership Development 5
David F. Peck 10
Nancy and Christopher Perks 10
Rosemary Peterson
Marcus Phung 5
Guy and Nancy Pinkerton 5
Mrs. Eileen Pratt Pringle 15
Llewelyn G. and Joan Ashby Pritchard ^ 15
Chip Ragen
Dana Reid and Larry Hitchon
Linden Rhoads
Ed and Marjorie Ringness 15
Richard and Bonnie Robbins
Cheryl Roberts and R. Miller Adams
Jonathan and Elizabeth Roberts 15
John Robinson and Maya Sonenberg 10
Nancy M. Robinson 15
William and Jill Ruckelshaus ^
Don and Toni Rupchock 15
Annie and Ian Sale
Thomas and Collette Schick 10
Eckhard Schipull 10
Art Schneider and Kim Street
Esther and Walter* Schoenfeld
Tanya and Gerry Seligman 5
Barbara and Richard Shikiar 15
Jon Shirley and Kim Richter
Janice and Brad Silverberg
Evelyn Simpson 15
Christopher Snow 5
Stephanie Standifer
Jane and Alec Stevens 10
Isabel and Herb Stusser 10
Michael and Christine Suignard
Kirsten and Bayan Towfiq o
Betty Lou and Irwin* Treiger ^ 15
John and Fran Weiss 15
Laurie and Allan Wenzel 5
Cliff Burrows and Anna White
Stephen and Marcia Williams
Mr. and Mrs. Rick D. Zajicek
Christian and Joyce Zobel 5
Anonymous (13)
Musicians Club ($1,000 – $1,999)
Mr. and Mrs. Chris Ackerley
William K. Ahrens 15
Mr. and Mrs. John Amaya 5
Jennifer Ament
Drs. Linda and Arthur Anderson
Carlton and Grace Anderson 5
Mr. Geoffrey Antos 5
Larry Harris and Betty Azar 10
Kendall and Sonia Baker 5
Tracy L. Baker 10
Dr. and Mrs. Terrence J. Ball 5
Joel Barduson
Stan and Alta Barer
Eric and Sally Barnum 5
Jane and Peter Barrett
Douglas and Maria Bayer 15
Dr. Melvin Belding and Dr. Kate Brostoff
Mr. and Mrs. Joe Belson
Charles Bender and Marie Bender 5
Judith and Arnold Bendich
Janice Berlin
Linda Betts 10
Kathy Binder
Mrs. William E. Boeing
Marilyn Boss
Herb Bridge and Edie Hilliard 15
Beverly C. Brown
Laurion Burchall and Arlene Kim
Frank and Phyllis Byrdwell ^
Mary and Patrick Callan
April Cameron 5
Karen Cameron
Corinne A. Campbell
Cory Carlson
Dr. Mark and Laure Carlson 5
Carol and John Austenfeld Charitable
Trust 5
Trish Carpenter
Benjamin Carr
Emily Carroll
Anand Chakraborty
Ying Chang
Kent and Barbara Chaplin 10
David and Lynne Chelimer 15
Chidem Cherrier 5
Mr. James Chesnutt 5
Robert E. Clapp 5
Jacqueline Coffroth
Ellen and Phil Collins 15
Mr. and Mrs. Frank Conlon
Donald and Ann Connolly
Peter and Lori Constable
The Honorable Dow Constantine
Herb and Kathe Cook 5
Bob and Jane Cremin
Joseph Crnko and Wendee Wieking 
Richard Cuthbert and Cheryl ReddCuthbert
Robert Darling
Tatiana Davidson 5
Angela de Oliveira 5
Calisle Dean
Tom DeBoer
Margaret and Lou Dell’Osso
Dr. Stella Desyatnikova MD
David and Helen Dichek
Betsy Donworth
Hope Druckman and Ted Kohler
Ken Duncan and Tanya Parish 5
Jeff Eby and Zart Dombourian-Eby  5
Mr. Scott Eby 5
Thomas* and Ruth Ellen Elliott 15
Leo and Marcia Engstrom
Raylene B. Ewing
Randi Fatizzi
Victor and Patricia Feltin 10
Al Ferkovich and Joyce HouserFerkovich 15
Jerry and Gunilla Finrow 15
Dana A. Frank
Robert Franklin
Ms. Janet Freeman-Daily 10
Terri and Joseph Gaffney 5
Ruth and Bill* Gerberding ^
Janice A. and Robert L. Gerth 15
James and Carol Gillick ^ 10
Bernel Goldberg +
Jeffrey and Martha Golub 10
Inger A. Goranson 5
Betty Graham
Kathleen Grant Khosrowshahi
Maridee Gregory
Julie Gulick
Frank and Gloria Haas 5
Mrs. Carol Hahn-Oliver* 5
William Haines 15
Mary Stewart Hall 10
James and Darlene Halverson
Darren Hamby
Dr. and Mrs. James M. Hanson
Ken and Cathi Hatch ^
Brian Hawksford and Steve Crandall
Ms. Jill Heerensperger
Dr. and Mrs. Robert M. Hegstrom
Gabriel and Raluca Hera
Susan Herring 5
Mr. H. D. Hinkson and Ms. Kathleen
Leahy 10
Suzanne Hittman
Cheryl Hoffman Herzog and Mathias
Herzog
Candyce Hogan
Norm Hollingshead 5
Bob Holtz and Cricket Morgan
Mrs. Susanne F. Hubbach 15
Gretchen and Lyman* Hull 15
Richard and Roberta Hyman
Ralph E. Jackson
Megan Hall and James Janning +
Lawrence Jen
Robert C. Jenkins 5
Clyde and Sandra Johnson 5
David Johnson
Rodney J. Johnson
Patricia E. Jones
Neil Jordan
Zagloul Kadah
Gretchen Kah 5
Suzanne and Steve Kalish
Glenn Kawasaki
Janet L. Kennedy
Michael and Mary Killien 10
Andrew Kim
Hyeok Kim
Virginia King 5
Carolyn and Robert Kitchell
W. M. Kleinenbroich
Maryann and Tom Kofler
Masato and Koko Koreeda
Becky Kowals and Max Rose +
Mr. Gary Kretzschmar
Tatyana Kutsy
Bradley Lamb
Ron and Carolyn Langford 10
Peter M. Lara 10
Dr. Gordon D. LaZerte 5
Gregory and Mary Leach 15
Virginia and Brian Lenker 10
Don and Carla Lewis 5
James Light 5
Jason Lin
Robert and Marylynn Littauer 5
Eric Liu and Jena Cane o
Lovett-Rolfe Family Trust
Susan and Jeff Lubetkin
Richard* and Beverly Luce 15
Alison and James Luckman
Roy and Laura Lundgren
Douglas MacDonald and Lynda Mapes
Elliot Margul
Mark Litt Family DAF of the Jewish
Federation of Greater Seattle 5
Ann and Karl Marlantes
Pat and Tony Marshall 5
David and Sally Maryatt
Marcia Mason
Carolyn and Richard Mattern 5
Florence and Charlie Mayne
Mary Kay McCaw
Elizabeth McConnell
Dr. and Mrs. Paul McCullough
Ashley McDougall
Karen and Rick McMichael 15
Jerry Meharg
Jeffry L. Melville and Maureen Campbell
Melville +
Mary Mikkelsen 15
Ronald Miller and Murl Barker 5
Bill and Shirley* Miner 5
Charles Montange and Kathleen
Patterson 15
Susan and Furman Moseley
Christine B. Moss 15
Donald and Shirley Mottaz 5
Mika Nakamura
Mr. and Mrs. J. P. Naughton 10
Paul Neal
Mrs. Dianne Nelson
Robert and Claudia Nelson
Kirsten Nesholm
Marilyn Newland 5
Paul and Linda Niebanck
Eric Noreen and Suzi Hill
Craig Norton and John French 5
Mark and Sally Onetto
Gordon Orians 10
Geneva R. Osburn 5
Meg Owen 5
David and Gina Pankowski
Mr. and Mrs. Richard Parks
Allan and Jane Paulson
Lisa Peters and James Hattori
Stewart Phelps
Don and Sue Phillips
Stephen Phinny
Tom and Brooke Pigott
Prairie Foundation
Lucy and Herb Pruzan 5
Ann Ramsay-Jenkins
Richard and Sharon Reuter 15
Jean A. Rhodes
Fred and Alyne* Richard 15
John Richardson II
Deborah and Andrew Rimkus 5
Heidi Riney
Jean A. Robbins 10
Mike Robinson
Helen Rodgers 15
Ken Rogers
Marnie Roozen
Stan and Michele Rosen
Dr. Len and Gretchen Jane Rosoff
Michelle Rudd
Ruttler Mills PLLC
David Sabee and Patricia Isacson Sabee
Mina Miller and David Sabritt
Jessica Schneller 5
Mr. and Mrs. Joseph Schocken
S. Andrew Schulman and Elizabeth K.
Maurer
Patrick and Dianne Schultheis
Nancy and James Schultz + 5
Charles and Maria Schweizer
Stephen and Julie Scofield
Shannyn Scovil
Annie and Leroy Searle 10
Janet Sears 10
Janet and Thomas Seery 10
Leslie J. Shank
Linda Sheely 10
Charles Shipley 10
Dr. Charles Simrell and Deborah Giles 10
Joan Smith
Stephen and Susan Smith
Harry Snyder
Scott and Lorna Soules
Judith F. Warshal and Wade Sowers 15
John Spear
Doug and Katie Sprugel 5
Dr. and Mrs. Robert Stagman 15
Lee and Elizabeth Stanton
Carrol Steedman
Craig and Sheila Sternberg
Steve and Sandy Hill Family Fund at the
Seattle Foundation 15
Susan Schroeter-Stokes and Robert
Stokes
Ms. Heather L. Stotz
Cynthia Stroum
Lynanne and Brad Struss
Victoria Sutter 5
Lina and Lino Tagliapietra
Mr. and Mrs. Ronald Taylor
Bob and Mimi Terwilliger 10
Robert Toren
Vahe Torossian
Andy Tsoi
Arthur and Patricia Upham
Mark Valliere
Mr. Leo van Dorp 5
Gretchen Van Meter 10
Johanna P. VanStempvoort 15
Mary Lou and Dirk van Woerden
Donald J. Verfurth
Robert and Lisa Wahbe
Doug and Maggie Walker 5
Stephanie Wallach
Bryna Webber and Dr. Richard Tompkins
Ralph and Virginia Wedgwood 15
Norma Wells
Ed and Pat Werner
Judith A. Whetzel
Michelle Whitten
Mitch Wilk
Wayne Wisehart
Jessie and David Woolley-Wilson
Troy and Elizabeth Wormsbecker
Richard and Barbara Wortley 5
Carol Wright
Kathleen Wright 10
Matt Yang
Mrs. Sarah Yeager
Keith Yedlin
Mr. Rocky Yeh
Igor Zverev 15
Anonymous (15)
HONORARIUM GIFTS
5 years of consecutive giving
10 years of consecutive giving
15
15 years or more of consecutive giving

Musician
o
Board Member
^
Lifetime Director
Æ
Staff
* In Memoriam
Jordan Anderson, by
Steven Miletich and Emily Langlie
To our entire donor family, thank you for
your support. You make our mission and
music a reality.
Becky Benaroya, by
Harold Matzner
5
10
Did you see an error? Help us
update our records by contacting
friends@seattlesymphony.org or
206.215.4832. Thank you!
ESTATE GIFTS
We gratefully remember the following
individuals for their generosity and
forethought, and for including the
Seattle Symphony in their will, trust
or beneficiary designation. These
legacy gifts provide vital support for
the Symphony now and for future
generations. (Estate gifts since
September 1, 2013.)
Glenn H. Anderson
Barbara and Lucile Calef
Robert E. and Jeanne Campbell
Daniel R. Davis
Carmen Delo
Sherry Fisher
Marion O. Garrison
Elizabeth C. Giblin
Carol Hahn-Oliver
Nancy N. Keefe
Betty L. Kupersmith
E. Marian Lackovich
Anna L. Lawrence
Arlyne Loacker
Peter J. McTavish
Nuckols-Keefe Family Foundation
Beatrice Olson
Pearl G. Rose
Carl A. Rotter
John C. Rottler
Phillip Soth
Ida L. Warren
Elizabeth B. Wheelwright
Gifts to the Seattle Symphony are a
wonderful way to celebrate a birthday,
honor a friend or note an anniversary.
In addition to recognition in the Encore
program, your honoree will receive a
card from the Symphony acknowledging
your thoughtful gift.
Gifts were made to the Seattle
Symphony in recognition of those listed
below between October 1, 2014 and
October 20, 2015. Please contact
Donor Relations at 206.215.4832 or
friends@seattlesymphony.org if you
would like to recognize someone in a
future edition of Encore.
Jared Baeten and Mark Ruffo, by
Eugene Brown
Efe Baltacigil, by
Patricia and Jon Rosen
Jane and John Bradfute, by
Nora and Myron MacDonald
Michael Brown, by
Norm Hollingshead
Leslie Chihuly, by
The Sam and Peggy Grossman Family
Foundation
Dr. Pierre and Mrs. Felice Loebel
Harold Matzner
The M. C. Pigott Family
Matt Stevenson
Barbara Tober
Su-Mei Yu
Anonymous
Leslie and Dale Chihuly, by
Bernice Mossafer Rind
Renee Cramer, by
Lynn Grandin
Laura DeLuca, by
Norm Hollingshead
Ryan Douglas, by
Michele Douglas
David Gordon, by
Marlyn Minkin
Alison Grauman, by
Hayley Nichols
Nancy Page Griffin, by
Mina Miller and David Sabritt
Michael Schick and Katherine Hanson
Susan Gulkis Assadi, by
Marlyn Minkin
Megan Hall, by
Samantha DeLuna
Patty Hall, by
Michael and Kelly Hershey
Joyce and Helen, by
Barbara Frederick
Karneia, by
Allen R. Schwerer
The Wiederhold Family, by
Christine Barnes
Jessica Kenney, by
Norm Hollingshead
Simon Woods, by
Norm Hollingshead
Dr. Pierre and Mrs. Felice Loebel
Kathleen Wright
Pekka Kuusisto, by
Norm Hollingshead
Kjristine Lund, by
Douglas MacDonald
Pat Marshall, by
John and Laurel Nesholm
Larey McDaniel, by
Norm Hollingshead
Phil and Karen Wyatt, by
Cathy and Glen Wyatt
Arthur Zadinsky, by
Norm Hollingshead
MEMORIAL GIFTS
Ludovic Morlot and the Seattle
Symphony, by
Norm Hollingshead
Gifts were made to the Seattle
Symphony to remember those listed
below between October 1, 2014 and
October 20, 2015. For information on
remembering a friend or loved one
through a memorial gift, please contact
Donor Relations at 206.215.4832 or
friends@seattlesymphony.org.
Valerie Muzzolini, by
Marlyn Minkin
Evelyne Adler, by
Deb and Tod Harrick
Nik, by
Cynthia Gaub
Priscilla Andrews, by
Bob and Carole Goldberg
Stephanie Mitchell, by
Jordan Jobe
Llewelyn Pritchard, by
Nancy C. Elliott
Tom Archbold, by
Barbara Archbold
Sue and Tom Raschella’s 50th Wedding
Anniversary, by
Bob and Clodagh Ash
Jennifer Connors
Jeffrey Phillippe
John Phillippe
Zygmunt F. Baczewski, by
Philip Baczewski
Joanne and Larry Gibson
Jon Rosen, by
Joe and Linda Berkson
Arlene Berlin, by
Janice Berlin
Pat Rosen’s Birthday, by
Natalie Gendler
Marcia and Mike Wiviott
Joan Burnett, by
Toby Burnett
Bernice Rind, by
Bob and Clodagh Ash
Howard Moss and Pauline Shapiro
David and Julie Peha
Kay Zatine
Cynthia Ryan, by
James Ryan
Arie Schächter, by
S. Andrew Schulman and
Elizabeth K. Maurer
Elle Simon
Peggy Spencer, by
Nancy McConnell
Betsy and Gary Spiess, by
Ling Chinn
Michael Upchurch, by
Norm Hollingshead
Alexander Velinzon, by
Nancy McConnell
Karla Waterman, by
Kay Zatine
Michael Werner, by
Norm Hollingshead
50
SEATTLESYMPHONY.ORG
Jack Benaroya, by
Zenaide Castro, by
Cesar Castro and Junichi Shinozuka
Kathryn G. Cavin, by
James Cavin
Annette Chajes, by
David Loring
Donna Cieszynski, by
David and MD Cieszynski
Dr. Alexander Clowes, by
Charles Alpers and Ingrid Peterson
Bob and Clodagh Ash
Butler’s Hole Fund
Barbara A. Cahill
Drs. Lihua Chen and Yihua Xiong
Dan and Nancy Evans
David and Dorothy Fluke
Dr. Kennan H. Hollingsworth
Becky Kowals
John and Nancy Lightbody
Jack and Sandy McCullough
C. Gardner McFall and Peter Olberg
Laird Norton Wealth Management
Carolyn and Michael Patterson
Sue and Tom Raschella
Patricia and Jon Rosen
Dr. and Mrs. Gilbert J. Roth
The Seattle Commissioning Club
Eve Gordon Anderson and Mark
Anderson
Roy and Laura Lundgren
Dr. Alan and Mary Morgan
Doug and Katie Sprugel
Craig and Sheila Sternberg
Linda Stevens
Neal B. Abraham and Donna L. Wiley
Anonymous
S. Patricia Cook, by
Capt. Charles Cook
Claudia Kay Kraft Cranbery, by
Shari Dworkin
Gretchen Faulstich, by
Cheryl and Gary Lundgren
Arthur Fong, by
Stanton W. Frederick, by
Julie Frederick
Kathleen A. Gehrt, by
John Gehrt
William Gerberding, by
Mr. and Mrs. David L. Fluke
Llewelyn G. and Joan Ashby Pritchard
Sally Clark Gorton, by
Carrol Steedman
Billie Grande, by
Patricia and Jim Davis
Dr. David Grauman, by
Bob and Clodagh Ash
Jane and David R. Davis
Mr. and Mrs. David L. Fluke
Mr. and Mrs. Charles Johnson
Helen Kearny
Reid and Marilyn Morgan
Mr. and Mrs. Thomas Raschella
L. Elsie Weaver
Mrs. G. B. Hotchkiss, Jr., by
Mary A. Hotchkiss
John Hunnewell, by
Maya Hunnewell
Suzanne Hutchinson, by
Ron Johnson, by
Mark McCampbell
Betty Winfield and Barry Hyman
Susanne Kellar, by
Lisa Lederer, by
Kay I. Barmore
Carolyn and Leroy Lewis, by
Pat Marshall, by
Illene and Mickey Maurer, by
S. Andrew Schulman and Elizabeth K.
Maurer
Ginny Meisenbach, by
Ruth E. Morrow, by
Ruth Johnson
Merlyn A. Nellist, by
Donna Nellist
Elisabeth Niccoli, by
Anonymous
Victoria Phillips, by
Dorothy and Mark Ghaly
Vera Rosen, by
Steven and Kay Frank
Sam and Gladys Rubinstein, by
Herman Sarkowsky, by
Mary Barringer Green, by
Christina Consla
Walter Schoenfeld, by
Edward A. Hansen, by
Daniel and Roberta Downey
Mark Schons, by
Joanne and Frances Schons
Jeanne Martinelli Hansen, by
Kirsti Dunn
Harriet and Bill Shank, by
Leslie Shank
La Eta Heath, by
Julia Shaw, by
Bob and Clodagh Ash
Russell P. Herwig, by
Ms. Karen Osmola
Bill Hirschfeld, by
Marjorie J. Levar
Phyllis Stern
Marilyn L. Hirschfeld, by
Bill Hirschfeld, Dr. Mary L. Hirschfeld and
W. Stuart Hirschfeld
Richard Spangler, by
Rev. Ben and Cheryl Keckler
Sam and Althea Stroum, by
S EAT T L E
SY MP H O N Y
DO N ORS
SEATTLE SYMPHONY / BENAROYA HALL ADMINISTRATIVE STAFF
James Stubner, by
Bob and Clodagh Ash
Bucknell Stehlik Sato & Stubner, LLP
Doug and Gail Creighton
Cousins Pam, Tim, Terry and Julie, and Uncle Ron
Collins
Carol B. Goddard
Robert and Rhoda Jensen
Ken Kataoka
John King
Richard* and Beverly Luce
Natalie Malin
Doug and Joyce McCallum
Dustin Miller
Carole Narita
Kenneth and Catherine Narita, Kimberly and Andy
Absher, Karen and Steve Shotts, and Kristen Narita
Leona Narita
Ruby Narita
Kathleen Sesnon
The Urner Family
John Walcott
Mary and Findlay Wallace
Wiatr & Associates
Marjorie Winter
Richard and Barbara Wortley
Kay Zatine
Jennifer Adair
Vice President & General Manager
Margaret Sullivan, by
Kay I. Barmore
Robert Thorson, by
Leone Murphy
Don Thulean, by
Todd Gordon and Susan Feder
Jennifer Schwartz
Frank Veninga, by
B. K. Walton, by
Penelope Yonge
Ida Louko Warren, by
Kate Wilson and Ned Washburn
Richard Yarington, by
Yoko Barnett
Cheryl Jefford
Charles and Joan Johnson
Margaret Kiyohara
Yaeko Yoshihara, by
Jean Murakami
SENIOR MANAGEMENT TEAM
Jessica Andrews-Hall, Samantha
Bosch, Lena Console, Sonya Harris,
Aimee Hong, Deven Inch, Bryce
Ingmire, Shelby Leyland, Leslie
McMichael, Rebecca Morhlang,
Dana Staikides
Teaching Artists
DEVELOPMENT
Danielle Valdes
Discovery Coordinator
Matt Marshall
Major Gift Officer (Campaign)
COMMUNICATIONS
Tina Schumann
Campaign Research & Operations Manager
You You Xia
Public Relations Manager
Allison Kunze
Development Coordinator (Campaign)
Heidi Staub
Editor & Publications Manager
Becky Kowals
Director of Major Gifts and Planned Giving
Jim Holt
Digital Content Manager
Marsha Wolf
Major Gift Officer
Kristen NyQuist
Director of Board Relations
& Strategic Initiatives
MARKETING
Amy Bokanev, Nicholas Walls
Gift Officers
Pat VandenBroek
Director of Human Resources
Rachel Spain
Marketing Manager
EXECUTIVE OFFICE
Natalie Soules
Marketing Coordinator
Simon Woods
President & CEO
Leslie Jackson Chihuly Chair
Charlie Wade
Senior Vice President of Marketing
& Business Operations
Maureen Campbell Melville
Vice President & Chief Financial Officer
Rosalie Contreras
Vice President of Communications
Elena Dubinets
Vice President of Artistic Planning
Jane Hargraft
Vice President of Development
Rachel Moore
Executive Assistant to the President & CEO and
Senior Vice President
Christy Wood
Director of Marketing
Barry Lalonde
Director of Digital Products
Rick Baker
Development Officer (Assistant to the
Vice President and Grants)
Jennifer Stead
Campaign Director
Paul Gjording
Senior Major Gift Officer
(Foundations & Government Relations)
Megan Hall
Annual Fund Senior Manager
Evan Cartwright
Data Operations Manager
ARTISTIC PLANNING
Jason Huynh
Digital Marketing Manager
Martin Johansson
Development Officer
(Communications & Volunteers)
Paige Gilbert
Assistant Artistic Administrator
Herb Burke
Tessitura Manager
Zoe Funai
Data Entry Coordinator
Rose Gear
Personal Assistant to the Music Director
Jessica Forsythe
Art Director
Dmitriy Lipay
Director of Audio & Recording
Helen Hodges
Graphic Designer
Tami Horner
Senior Manager of Special Events
& Corporate Development
ORCHESTRA & OPERATIONS
Forrest Schofield, Jessica Atran
Group Sales Managers
Kelly Woodhouse Boston
Director of Operations
Joe Brock
Retail Manager
Ana Hinz
Production Manager
Christina Hajdu
Sales Associate
Blaine Inafuku
Artist Services, Media & Chorale Manager
Brent Olsen
Ticket Sales Manager
Scott Wilson
Personnel Manager
Nina Cesarrato, Molly Gillette,
Maery Simmons
Ticket Office Coordinators
Keith Higgins
Assistant Personnel Manager
Robert Olivia
Associate Librarian
Mary Austin, Melissa Bryant,
Yasmina Ellis, Katie Hovde, Jessica
Lee, Mike Obermeyer, Melanie
Voytovich, James Bean, CaraBeth
Wilson, Elizabeth Ylaya
Ticket Services Associates
Jeanne Case
Librarian
VENUE ADMINISTRATION
Joseph E. Cook
Technical Director
Matt Laughlin
Senior Facility Sales Manager
Mark Anderson, Jeff Lincoln
Assistant Technical Directors
James Frounfelter, Adam Moomey
Event & Operations Managers
Chris Dinon, Don Irving, Aaron
Gorseth, John Roberson, Michael
Schienbein, Ira Seigel
Stage Technicians
Keith Godfrey
House Manager
Patricia Takahashi-Blayney
Principal Librarian
EDUCATION &
COMMUNITY ENGAGEMENT
Laura Reynolds
Director of Education & Community
Engagement
Thomasina Schmitt, Kristin
Schneider, Stephanie Rodousakis
Education & Community Engagement Managers
Becky Spiewak
Education & Community Engagement
Coordinator
Tanya Wanchena
Assistant House Manager & Usher Scheduler
Milicent Savage, Patrick Weigel
Assistant House Managers
Dawn Hathaway, Lynn Lambie, Mel
Longley, Ryan Marsh, Markus Rook,
Carol Zumbrunnen
Head Ushers
Samantha DeLuna
Special Events Manager
Ryan Hicks
Corporate Development Manager
FINANCE & FACILITIES
David Nevens
Controller
Clem Zipp
Assistant Controller
Lance Glenn
Information Systems Manager
Megan Spielbusch
Accounting Manager
Niklas Mollenholt
Staff Accountant
Jacqueline Moravec
Payroll/AP Accountant
Bernel Goldberg
General Counsel
David Ling
Facilities Director
Kevin Baker
Facilities Manager
Bob Brosinski
Lead Building Engineer
Christopher Holbrook
Building Engineer 2
Aaron Burns
Building Engineer 1
Rodney Kretzer
Facilities & Security Coordinator
Everett Bowling, Veronica Boyer,
Evelyn Gershen
Assistant Head Ushers
HUMAN RESOURCES
Ron Hyder
Technical Coordinator
Annalies Schuster
Front Desk Receptionist
Kathryn Osburn
Human Resources Generalist
CONTACT US:
206.215.4747 / DONATIONS: 206.215.4832 / ADMINISTRATIVE OFFICES: 206.215.4700
VISIT US ONLINE: seattlesymphony.org / FEEDBACK: president@seattlesymphony.org
TICKETS:
SE AT T LE SYMP HONY ENDOWMENT FUN D
The Seattle Symphony is grateful to the following donors who have made commitments of $25,000 or more to the Endowment Fund since its inception. The following list is current as of
October 20, 2015. For information on endowed gifts and naming opportunities in Benaroya Hall, please contact Becky Kowals at 206.215.4852 or becky.kowals@seattlesymphony.org.
$5 MILLION +
The Benaroya Family
Charles Simonyi Fund for Arts and
Sciences
Anonymous (1)
$1,000,000 – $4,999,999
The Clowes Fund, Inc.
Priscilla Bullitt Collins*
The Ford Foundation
Dave and Amy Fulton
Kreielsheimer Foundation
Marks Family Foundation
Estate of Gladys and Sam Rubinstein
Samuel* and Althea* Stroum
Dr. Robert Wallace
$500,000 – $999,999
Alex Walker III Charitable Lead Trust
Mrs. John M. Fluke, Sr.*
Douglas F. King
Estate of Ann W. Lawrence
The Norcliffe Foundation
Estate of Mark Charles Paben
James D. and Sherry L. Raisbeck
Foundation
Joan S. Watjen, in memory of
Craig M. Watjen
$100,000 – $499,999
Estate of Glenn H. Anderson
Andrew W. Mellon Foundation
Bob and Clodagh Ash
Alan Benaroya
Estate of C. Keith Birkenfeld
Mrs. Rie Bloomfield*
The Boeing Company
C.E. Stuart Charitable Fund
Dr. Alexander Clowes* and Dr. Susan
Detweiler
Richard and Bridget Cooley
Mildred King Dunn
E. K. and Lillian F. Bishop Foundation
Estate of Clairmont L. and Evelyn
Egtvedt
Estate of Ruth S. Ellerbeck
Senator and Mrs. Daniel J. Evans
Fluke Capital Management
Estate of Dr. Eloise R. Giblett
Agnes Gund
Helen* and Max* Gurvich
Estate of Mrs. James F. Hodges
Estate of Ruth H. Hoffman
Estate of Virginia Iverson
Estate of Peggy Anne Jacobsson
Estate of Charlotte M. Malone
Bruce and Jolene McCaw
Bruce and Jeanne McNae
National Endowment for the Arts
Northwest Foundation
Estate of Elsbeth Pfeiffer
Estate of Elizabeth Richards
Jon and Judy Runstad
Weyerhaeuser Company
The William Randolph Hearst
Foundations
Estate of Helen L. Yeakel
Estate of Victoria Zablocki
Anonymous (2)
$50,000 – $99,999
Estate of Mrs. Louis Brechemin
Estate of Edward S. Brignall
Frances O. Delaney*
John and Carmen* Delo
Estate of George A. Franz
Jean Gardner
Estate of Mr. and Mrs. Irvin Gattiker
Anne Gould Hauberg
Richard and Elizabeth Hedreen
Estate of William K. and Edith A. Holmes
John Graham Foundation
Mr. and Mrs. Stanley P. Jones
Estate of Betty L. Kupersmith
John and Cookie* Laughlin
E. Thomas McFarlan
Estate of Alice M. Muench
Estate of Opal J. Orr
M. C. Pigott Family
PONCHO
Estate of Mrs. Marietta Priebe
Mr. and Mrs. Paul R. Smith
Estate of Frankie L. Wakefield
Estate of Marion J. Waller
Washington Mutual
Anonymous (1)
$25,000 – $49,999
Edward and Pam Avedisian
Estate of Bernice Baker
Estate of Ruth E. Burgess
Estate of Barbara and Lucile Calef
Mrs. Maxwell Carlson
Alberta Corkery*
Norma Durst*
Estate of Margret L. Dutton
Estate of Floreen Eastman
Hugh S. Ferguson*
Mrs. Paul Friedlander*
Adele Golub
Patty Hall
Thomas P. Harville
Harold Heath*
George Heidorn and Margaret
Rothschild*
Phyllis and Bob Henigson
Michael and Jeannie Herr
Charles E. Higbee, MD and Donald D.
Benedict
Mr. and Mrs. L. R. Hornbeck
Sonia Johnson*
The Keith and Kathleen Hallman Fund
David and Karen Kratter
Estate of Marlin Dale Lehrman
Estate of Coe and Dorothy Malone
Estate of Jack W. McCoy
Estate of Robert B. McNett
Estate of Peter J. McTavish
Estate of Shirley Callison Miner
PACCAR Foundation
Estate of Elizabeth Parke
Mr. and Mrs. W. H. Purdy
Keith and Patricia Riffle
Rita* and Herb* Rosen and the Rosen
Family
Jerry and Jody Schwarz
Seafirst Bank
Seattle Symphony Women’s Association
Security Pacific Bank
U S WEST Communications
Estate of Dr. and Mrs. Wade Volwiler
Estate of Marion G. Weinthal
Estate of Ethel Wood
Anonymous (2)
* In Memoriam
M U S ICA L L EG ACY SOCIETY
The Musical Legacy Society honors those who have remembered the Seattle Symphony with a future gift through their estate or retirement plan. Legacy donors ensure a vibrant
future for the Seattle Symphony, helping the orchestra sustain its exceptional artistry and its commitment to making live symphonic music accessible to youth and the broader
community. To learn more about the Musical Legacy Society, or to let us know you have already remembered the Symphony in your long-term plans, please contact Director of
Major Gifts and Planned Giving Becky Kowals at 206.215.4852 or becky.kowals@seattlesymphony.org. The following list is current as of October 20, 2015.
Charles M. and Barbara Clanton
Ackerman
Joan P. Algarin
Ron Armstrong
Elma Arndt
Bob and Clodagh Ash
Susan A. Austin
Rosalee Ball
Donna M. Barnes
Carol Batchelder
Janet P. Beckmann
Alan Benaroya
Donald/Sharon Bidwell Living Trust
Sylvia and Steve Burges
Dr. Simpson* and Dr. Margaret Burke
Dr. Alexander Clowes* and Dr. Susan
Detweiler
Dr. Marshall Corson and Mrs. Lauren Riker
Betsey Curran and Jonathan King
Frank and Dolores Dean
Robin Dearling and Gary Ackerman
Lorraine Del Prado and Thomas Donohue
John Delo
Fred and Adele Drummond
Mildred King Dunn
Sandra W. Dyer
Ann R. Eddy
Gerald B. Folland
Judith A. Fong
Jack and Jan Forrest
Russell and Nancy Fosmire
52
SEATTLESYMPHONY.ORG
Ernest and Elizabeth Scott Frankenberg
Cynthia L. Gallagher
Jean Gardner
Carol B. Goddard
Frances M. Golding
Jeff Golub
Dr. and Mrs. Ulf and Inger Goranson
Betty Graham
Catherine B. Green
Dr. Martin L. Greene
James and Darlene Halverson
Barbara Hannah
Harriet Harburn
Ken and Cathi Hatch
Michele and Dan Heidt
Ralph and Gail Hendrickson
Deena J. Henkins
Charles E. Higbee, MD
Frank and Katie Holland
Chuck and Pat Holmes
Richard and Roberta Hyman
Janet Aldrich Jacobs
Dr. Barbara Johnston
Norman J. Johnston* and L. Jane
Hastings Johnston
Atul R. Kanagat
Don and Joyce Kindred
Dell King
Douglas F. King
Stephen and Barbara Kratz
Frances J. Kwapil
Ned Laird
Paul Leach and Susan Winokur
Lu Leslan
Marjorie J. Levar
Jeanette M. Lowen*
Ted and Joan Lundberg
Judsen Marquardt
Ian and Cilla Marriott
Doug and Joyce McCallum
Jean E. McTavish
William C. Messecar
Elizabeth J. Miller
Mrs. Roger N. Miller
Murl G. Barker and Ronald E. Miller
George Muldrow
Marr and Nancy Mullen
Isa Nelson
Gina W. Olson
Sarah M. Ovens
Donald and Joyce Paradine
Dick and Joyce Paul
Stuart N. Plumb
Mrs. Eileen Pratt Pringle
Mr. and Mrs. W. H. Purdy
J. Stephen and Alice Reid
Bernice Mossafer Rind
Bill* and Charlene Roberts
Junius Rochester
Jan Rogers
Mary Ann Sage
Thomas H. Schacht
Judith Schoenecker and
Christopher L. Myers
Annie and Leroy Searle
Allen and Virginia Senear
Jan and Peter Shapiro
John F. and Julia P.* Shaw
Barbara and Richard Shikiar
Valerie Newman Sils
Evelyn Simpson
Betty J. Smith
Katherine K. Sodergren
Althea C. and Orin H.* Soest
Sonia Spear
Elizabeth Stokes
Gayle and Jack Thompson
Dr. and Mrs. Arthur Torgerson
Betty Lou and Irwin* Treiger
Sharon Van Valin
Dr. Robert Wallace
Nicholas A. Walls
Judith Warshal and Wade Sowers
Douglas Weisfield
James and Janet Weisman
John and Fran Weiss
Gerald W. and Elaine* Millard West
Selena and Steve Wilson
Ronald and Carolyn Woodard
Arlene A. Wright
Janet E. Wright
Anonymous (43)
* In Memoriam
CO R P O RATE & FOU NDAT ION S UPPO RT
The Seattle Symphony gratefully recognizes the following corporations, foundations and united arts funds for their generous outright and In-Kind support at the following levels.
This list includes donations to the Annual Fund and Event Sponsorships, and is current as of October 23, 2015. Thank you for your support — our donors make it all possible!
$500,000+
Seattle Symphony Foundation
$100,000 – $499,999
ANONYMOUS
$50,000 – $99,999
$15,000 – $24,999
Barrier Motors
Motif Hotel
Boeing Matching Gift Program
Aaron Copland Fund For Music
Bellevue Children’s Academy
Nintendo of America, Inc.
Christensen O’Connor Johnson
Kindness PLLC †
Ann and Gordon Getty Foundation and
the League of American Orchestras
The Benaroya Company
Parker Smith Feek
Brown BearCar Wash
The PONCHO Foundation
Clowes Fund, Inc.
Chihuly Studio †
Finlandia Foundation National
Schwabe, Williamson & Wyatt
J.P. Morgan Chase & Co.
Coca-Cola Company Matching Gifts
Hotel Andra †
Thurston Charitable Foundation
KEXP †
Holland America Line
HSBC
Wyman Youth Trust
John Graham Foundation
Jean K. Lafromboise Foundation
Johnson & Johnson Matching
Gifts Program
$1,000 – $2,999
$10,000 – $14,999
Key Bank
Foster Pepper PLLC
MacDonald Hoague & Bayless †
Seattle Met Magazine †
Fran’s Chocolates ◊
Mayflower Park Hotel †
MulvannyG2 Architecture
$25,000 – $49,999
Lakeside Industries
Leco- sho†
Ann and Gordon Getty Foundation
Macy’s Foundation
NW Audi Dealer Group
Bank of America Merrill Lynch
Milliman ◊
Peg and Rick Young Foundation
BNSF Foundation
Music4Life †
Russell Family Foundation
CTI BioPharma Corp.
Norman Archibald Foundation
Skanska USA
Classic Pianos ◊
NW Cadillac Dealer Group
Snoqualmie Casino
Classical King FM †
Perkins Coie LLP
Stoel Rives
Elizabeth McGraw Foundation
Rosanna, Inc. †
Starbucks Coffee Company †
Four Seasons Hotel †
Sheraton Seattle Hotel †
Tulalip Tribes Charitable Fund
Garvey Schubert Barer †
Snoqualmie Tribe
Vitalogy Foundation
J.P. Morgan Chase & Co.
U.S. Bank Foundation
Von’s †
Mercer †
Washington Employers †
Nordstrom
A-1 Pianos
Acción Cultural Española
Alfred & Tillie Shemanski Trust Fund
Bang & Olufsen
Barghausen Consulting Engineers, Inc.
Blanke Foundation
DreamBox Learning
Genworth Foundation
Hard Rock Cafe Seattle †
IBM International Foundation
Kells Irish Restaurant & Pub †
National Frozen Foods Corporation
Pacific Coast Feather Co.
UBS Employee Giving Programs
UniBank
Microsoft Matching Gifts
Weill Music Institute †
$3,000 – $4,999
RBC Wealth Management
Wild Ginger Restaurant †
Russell Investments
Anonymous
Bank of America
Foundation Matching Gifts
Wilson Sonsini Goodrich
& Rosati Foundation
Bill & Melinda Gates Foundation
Matching Gifts
† In-Kind Support
Brandon Patoc Photography †
◊
Seattle Foundation
Sheri and Les Biller Family Foundation
$5,000 – $9,999
Wells Fargo
Accountemps †
Clark Nuber, PS
Acucela Inc.
Community Attributes †
Amphion Foundation
Fales Foundation
Audio Visual Factory †
Glazer’s Camera †
United Health Care
Financial and In-Kind Support
Barnard Griffin Winery †
G OV E R N MEN T SUPPORT
Important grant funding for the Seattle Symphony is provided by the government agencies listed below. We gratefully acknowledge their support, which helps us to present
innovative symphonic programming and to ensure broad access to top-quality concerts and educational opportunities for underserved schools and communities throughout
the Puget Sound region. For more information about the Seattle Symphony’s family, school and community programs, visit seattlesymphony.org/families-learning.
YOUR GUIDE TO BENAROYA HALL
SYMPHONICA , THE SYMPHONY STORE:
SMOKING POLICY: Smoking is not
Located in The Boeing Company Gallery, Symphonica is
open weekdays from 11am–2pm and 90 minutes prior to
all Seattle Symphony performances through intermission.
permitted in Benaroya Hall. Smoking areas
are available along Third Avenue.
SEATTLE SYMPHONY
SPECIAL EVENTS
SPONSORS &
COMMITTEES
PARKING: You may purchase prepaid parking
for the Benaroya Hall garage when you purchase
concert tickets. Prepaid parking may be purchased
online or through the Ticket Office. If you wish to
add prepaid parking to existing orders, please
contact the Ticket Office at 206.215.4747.
appropriate phone number, listed below, and your exact
seat location (aisle, section, row and seat number) with
your sitter or service so we may easily locate you in
the event of an emergency: S. Mark Taper Foundation
Auditorium, 206.215.4825; Illsley Ball Nordstrom Recital
Hall, 206.215.4776.
The 430-space underground parking garage at Benaroya
Hall provides direct access from the enclosed parking
area into the Hall via elevators leading to The Boeing
Company Gallery. Cars enter the garage off Second
Avenue, just south of Union Street. There are many
other garages within a one-block radius of Benaroya
Hall as well as numerous on-street parking spaces.
DOCTOR IN THE HOUSE: Virginia Mason
Special Events provide significant funding each
season to the Seattle Symphony. We gratefully
recognize our presenting sponsors and committees
who make these events possible. Individuals who
support the events below are included among the
Individual Donors listings. Likewise, our corporate and
foundation partners are recognized for their support
in the Corporate & Foundation Support listings. For
more information about Seattle Symphony events,
please visit seattlesymphony.org/give/special-events.
Medical Center physicians frequently attend
Seattle Symphony performances and are ready
to assist with any medical problems that arise.
OPENING NIGHT GALA, SEPTEMBER 19, 2015
Honoring Ann P. Wyckoff
COAT CHECK: The coat check is located in The
Boeing Company Gallery. Patrons are encouraged
to use this complimentary service. For safety,
coats may not be draped over balcony railings.
LATE SEATING: For the comfort and listening pleasure
of our audiences, late-arriving patrons will not be seated
while music is being performed. Latecomers will be
seated at appropriate pauses in the performance, and
are invited to listen to and watch performances in the
S. Mark Taper Foundation Auditorium on a monitor
located in the Samuel & Althea Stroum Grand Lobby.
CAMERAS, CELL PHONES, RECORDERS,
BEEPERS & WATCH ALARMS: The use of
cameras or audio-recording equipment is strictly
prohibited. Patrons are asked to turn off all personal
electronic devices prior to the performance.
LOST AND FOUND: Please contact the Head
Usher immediately following the performance or
call Benaroya Hall security at 206.215.4715.
PUBLIC TOURS: Free tours of Benaroya Hall
begin at noon and 1pm on select Mondays and
Tuesdays; please visit benaroyahall.org or call
206.215.4800 for a list of available dates. Meet
your tour guide in The Boeing Company Gallery.
To schedule group tours, call 206.215.4856.
COUGH DROPS: Cough drops
are available from ushers.
EVACUATION: To ensure your safety in case of fire
or other emergency, we request that you familiarize
yourself with the exit routes nearest your seat.
Please follow the instructions of our ushers, who are
trained to assist you in case of an emergency.
EMERGENCY PHONE NUMBER: Please leave the
SERVICES FOR PATRONS WITH DISABILITIES:
Benaroya Hall is barrier-free and meets or exceeds all
criteria established by the Americans with Disabilities
Act (ADA). Wheelchair locations and seating for those
with disabilities are available. Those with oxygen
tanks are asked to please switch to continuous flow.
Requests for accommodations should be made when
purchasing tickets. For a full range of accommodations,
please visit our website at seattlesymphony.org.
SERVICES FOR HARD-OF-HEARING PATRONS:
An infrared hearing system is available for patrons
who are hard of hearing. Headsets are available
at no charge on a first-come, first-served basis
in The Boeing Company Gallery coat check and
at the Head Usher stations in both lobbies.
ADMISSION OF CHILDREN: Children under the age of
5 will not be admitted to Seattle Symphony performances
except for specific age-appropriate children’s concerts.
BENAROYA HALL: Excellent dates are available for
those wishing to plan an event in the S. Mark Taper
Foundation Auditorium, the Illsley Ball Nordstrom
Recital Hall, the Samuel & Althea Stroum Grand
Lobby and the Norcliffe Founders Room. Call Matt
Laughlin at 206.215.4813 for more information.
SHARE THE MUSIC THROUGH TICKET DONATION:
If you are unable to attend a concert, we encourage
you to exchange your tickets for another performance
or donate your tickets prior to the performance. When
you donate your tickets to the Seattle Symphony for
resale, you not only receive a donation tax receipt,
you also open your seat for another music lover.
If you would like to donate your tickets for resale,
please contact the Seattle Symphony Ticket Office
at 206.215.4747 or 1.866.833.4747 (toll-free outside
local area) at your earliest convenience, or call our
recorded donation line, 206.215.4790, at any time.
DINING AT BENAROYA HALL
Powered by Tuxedos and Tennis Shoes Catering and Events
MUSE, IN THE NORCLIFFE FOUNDERS ROOM AT BENAROYA HALL: Enjoy pre-concert dining at Muse, just a
few short steps from your seat. Muse blends the elegance of downtown dining with the casual comfort of the nearby
Pike Place Market, offering delicious, inventive menus with the best local and seasonal produce available. Open to
ALL ticket holders two hours prior to most Seattle Symphony performances and select non-Symphony performances.
Reservations are encouraged, but walk-ins are also welcome. To make a reservation, please visit opentable.com or call
206.336.6699.
DAVIDS & CO.: Join us for a bite at Davids & Co., a cafe in The Boeing Company Gallery at Benaroya Hall. Featuring
fresh takes on simple classics, Davids & Co. offers the perfect spot to grab a quick weekday lunch or a casual meal
before a show. Open weekdays from 11am–2pm and two hours prior to most performances in the S. Mark Taper
Foundation Auditorium.
LOBBY BAR SERVICE: Food and beverage bars are located in the Samuel & Althea Stroum Grand Lobby. The lobby
bars open 75 minutes prior to Seattle Symphony performances and during intermission. Pre-order at the lobby bars
before the performance to avoid waiting in line at intermission.
54
SEATTLESYMPHONY.ORG
PRESENTING SPONSOR
Jean-Yves Thibaudet generously sponsored by
Jean-François and Catherine Heitz through the
Seattle Symphony’s Guest Artist Circle
CO-CHAIRS
Renée Brisbois, Nader Kabbani and Betty Tong
COMMITTEE
Rosanna Bowles
Leslie Jackson Chihuly
Linda Cole
Christine Cote-Wissman
Elizabeth Ketcham
Ghizlane Morlot
Hisayo Nakajima
Erika Nesholm
Shelia Noonan
Paul Rafanelli
Kim Richter
Jon Rosen
Elisabeth Beers Sandler
Kirsten Towfiq
HOLIDAY MUSICAL SALUTE, DECEMBER 8, 2015
CO-CHAIRS
Rebecca Layman Amato and Claire Angel
COMMITTEE
Michelle Codd
Roberta Downey
JoAnn Forman
Ghizlane Morlot
Tiffany Moss
Rena O’Brien
Marnie Roozen
Katrina Russell
Jill Singh
Leslie Whyte
TEN GRANDS, MAY 8, 2015
PRESENTING SPONSOR
RBC Wealth Management
Co-Founder and Executive Director
COMMITTEE
Cheri Brennan
Ben Klinger
Carla Nichols
Sherrie Liebsack
Deanna L. Sigel
Stephanie White
CLUB LUDO, JUNE 6, 2015
PRESENTING SPONSOR
CTI BioPharma
CHAIR
Ryan Mitrovich
COMMITTEE
Shawn Bounds
Eric Jacobs
Alex Klein
Tiffany Moss
Grace Yoo
THE LIS(Z)T
SEEN & HEARD @ THE SEATTLE SYMPHONY
2
1
Photos by Phototainment
4
3
5
6
7
OPENING NIGHT CONCERT & GALA
On September 19 the Seattle Symphony launched the 2015–2016
season, Music Director Ludovic Morlot’s fifth leading the
orchestra. The Opening Night Concert & Gala began with a
sensational concert featuring the 2015–2016 season Artist in
Residence Jean-Yves Thibaudet, and the winner of the first-ever
Seattle Symphony Piano Competition, Kevin Ahfat.
This season’s Opening Night Gala was dedicated to empowering
tomorrow’s musicians, a cause close to the heart of Gala
honoree Ann P. Wyckoff, who received a standing ovation in
recognition of her extraordinary contributions to the orchestra,
and the greater Seattle arts and culture community (see page 14
for an interview with her). Following an inspiring performance
by young pianist Nathan Lee, a record-breaking $365,000 was
donated during the evening’s Raise the Paddle, bringing the total
raised in support of the Symphony’s education and community
programs during the event to $785,000.
The Symphony thanks all the attendees, sponsors and donors
for helping make this year’s Opening Night such a huge success.
Special thanks to Presenting Sponsor Laird Norton Wealth
Management for their leadership support of this extraordinary
start to the season.
Read past editions of The Lis(z)t at seattlesymphony.org/liszt.
PHOTOS: 1 Board member Laurel Nesholm (right) with her husband, John, and their daughter Erika 2 Gala honoree Ann P. Wyckoff 3 Gala Co-Chairs Betty
Tong, Nader Kabbani and Renée Brisbois 4 Nathan Lee and Ludovic Morlot 5 Board member Rosanna Bowles 6 Rebecca Benaroya 7 Ghizlane and
Ludovic Morlot with Board member Judith A. Fong and Mark Wheeler
This is the little
this is the
with a rare immune disease. And
who works with the
both supported by these generous
who are
to repair tiny
immune systems, giving children like Ezra a second chance
at a healthy childhood.
CARE. RESEARCH. PHILANTHROPY. COMING TOGETHER EVERY DAY. Baby Ezra
was diagnosed with a rare immune disease, leaving him unable to fight germs and infections.
The collaboration between Seattle Children’s doctors, researchers and generous people like
you make it possible for children like Ezra to have a brighter future. To learn more or donate,
visit seattlechildrens.org.

Here`s - EncoreArtsSeattle.com

Transcription

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