MORLOT - EncoreArtsSeattle.com

Transcription

MAY | JUNE | JULY 2016
MORLOT
CONDUCTS
S T R AV I N S K Y
BEETHOVEN & RAVEL
SONIC EVOLUTION:
THIS IS INDIE!
ARTIST IN RESIDENCE
JE AN -Y VES
TH IBAUDET
RETURNS
JOIN US for eight concerts over two weeks as we celebrate a century
of great homegrown music from George Gershwin’s jazzy downtown
swing to the Alaskan “sonic geography” of John Luther Adams, from the
racing pulse of Hollywood to the hypnotic energy of Philip Glass — and
everything in between!
TWO WEEKS OF A
JUNE
17
20
23
THUR
8PM
7:30PM
7:30PM
TUNING UP!
SPELLBOUND
STAGE & SCREEN
S. Mark Taper Foundation Auditorium
Illsley Ball Nordstrom Recital Hall
Ludovic Morlot, conductor
Jean-Yves Thibaudet, piano
Members of the Seattle Symphony Chorale
Seattle Symphony
Lydia Kavina, theremin
Seattle Symphony musicians
FRI
MON
RHAPSODY IN RED,
WHITE & BLUE
EDGARD VARÈSE: Tuning Up
CHARLES IVES: Orchestral Set No. 2
GEORGE GERSHWIN: Rhapsody in Blue
DEREK BERMEL: Elixir
JOHN ADAMS: My Father Knew Charles Ives
DUKE ELLINGTON: Harlem
These daring composers captured the essence
of their homeland: the jazz and ragtime, the
patriotic songs and quirky tunes and even
noisiest city streets. Come experience the full
musical spectrum of this American rhapsody!
Jean-Yves Thibaudet’s performance is generously
underwritten by The Martine and Dan Drackett
Family Foundation.
$25
ALL SEATS ONLY
THE THEREMIN
RETURNS
JOHN HARBISON: Quintet for Winds
EDGARD VARÈSE: Density 21.5 arranged
for theremin solo
CHRISTIAN WOLFF: Exercise 28
DANIEL ROUMAIN: Selections from Hip Hop
Studies
ANIS FULEIHAN: Concerto for Theremin
MIKLÓS RÓSZA: Spellbound Concerto
BERNARD HERRMANN: The Day the Earth
Stood Still
HOWARD SHORE: Suite from Ed Wood
DANNY ELFMAN: Charlie and the Chocolate
Factory
DANNY ELFMAN: Mars Attacks
The theremin has become the quintessential
sound of science fiction, aliens and all things
eerie. Witness a true virtuoso, trained by
inventor Léon Theremin himself, work her
wizardry on an electronic instrument that sings
and swoops without any physical contact.
DON’T MISS A SINGLE MOMENT!
GET YOUR TICKETS TODAY.
FROM APPALACHIAN
SPRING TO THE
RED VIOLIN
Philippe Quint, violin
Daniel Mantei, choreographer
Seattle Symphony
LEONARD BERNSTEIN: Divertimento
for Orchestra
FLORENCE PRICE: Dances in the Canebrakes
AARON COPLAND: Appalachian Spring
Orchestral Suite
JOHN CORIGLIANO: Chaconne from The Red
Violin
JOHN WILLIAMS: Theme from Schindler’s List
MARVIN HAMLISCH: A Marvin Hamlisch
Celebration
From stage to screen to concert hall, these
giants of American music transcended borders
and created the music we know and love.
Emotions run deep in music from Schindler’s
List, The Red Violin and Copland’s portrayal of
19th century American life, Appalachian Spring
featuring ballet dancers. Plus a tribute to
Marvin Hamlisch!
All this for the unique summer pricing of $25 per concert. Tickets will be short
in supply but the concerts will be long in excitement as Ludovic Morlot and the
Seattle Symphony bring you a thrilling celebration of what makes American
music great!
AMERICAN MUSI
24
29
30
8PM
7:30PM
7:30PM
TRIADIC MEMORIES
THE LIGHT THAT
FILLS THE WORLD
FRI
WED
BERNSTEIN
& BEYOND
GREAT AMERICAN
CHAMBER MUSIC
A MINIMALIST
MASTERPIECE
THUR
A MEDITATION IN
SOUND & LIGHT
Alexander Melnikov, piano
Philippe Quint, violin
Seattle Symphony musicians
MORTON FELDMAN: Triadic Memories
Alexander Melnikov, piano
Elisa Barston, violin
Mikhail Shmidt, violin
Mara Gearman, viola
Walter Gray, cello
Jeff Lincoln, lighting design
Seattle Symphony
HENRY COWELL: Suite for Violin and Piano
ALYSSA WEINBERG: Contemplations
DAVID ROZENBLATT: Dispute in Conclusion
Unplugged
MASON BATES: The Life of Birds
LUKAS FOSS: Three American Pieces
LEONARD BERNSTEIN: Trio for Violin, Violoncello
and Piano
JAMES LEE III: Night Visions of Kippur
American music is not one fixed sound or style but
a constant conversation. This concert traverses
the past 100 years of chamber music all the way
through a new generation of composers adding
their voices.
Morton Feldman’s epic piano solo takes you
through a 90-minute hypnotic labyrinth.
Like the handmade Persian rugs Feldman
collected, Triadic Memories weaves simple and
tactile threads of sound into a mesmerizing
masterpiece.
JULIA WOLFE: My Beautiful Scream
JOHN CAGE: 4’ 33”
JOHN LUTHER ADAMS: The Light That Fills
the World
MORTON FELDMAN: Piano and Orchestra
PHILIP GLASS: The Light
An immersive concert that will sweep you into
an exploration of light from the scientific bent
of Philip Glass’ The Light, to the rushing light
of the Arctic and on to the illuminating agony
of Julia Wolfe’s My Beautiful Scream. These
musical mystics will pull you into a world of
sound and silence, light and dark.
206.215.4747 | SEATTLESYMPHONY.ORG/SUMMER
Tuning Up! is made possible by a generous gift from the Judith Fong Music Director’s Fund.
tuning
up!
ICAL CREATIVITY
TWO WEEKS OF AMERICAN MUSICAL CREATIVITY
DON’T MISS
A MOMENT
JULY
OF THIS TWO-WEEK
EXTRAVAGANZA!
1
2
10PM
8PM
ONLY $148!
IN THE WHITE
SILENCE
LIVE WITH THE
SILVER SCREEN
PASS HOLDERS RECEIVE:
FRI
SAT
JOHN LUTHER ADAMS’ THE SYMPHONY
ALASKAN LANDSCAPES IN HOLLYWOOD
Samuel & Althea Stroum Grand Lobby
Nathan Cole, violin
Cordula Merks, violin
Sayaka Kokubo, viola
Eric Han, cello
Cyndia Sieden, soprano
Julianne Johnson-Weiss, vocals
Nathan Cole, violin
Efe Baltacıgil, cello
John Goberman, narrator
VellVett, hip-hop artist
The Sound of the Northwest
Seattle Symphony
JOHN LUTHER ADAMS: In the White Silence
John Luther Adams is the pioneer of musical
environmental activism, translating the
vast horizons of the frozen far north into a
musical tableau of clean, radiant harmony and
subtle transformation. In the White Silence
exemplifies his “sonic geography.”
MAX STEINER: Selections from Gone With the Wind
ERICH KORNGOLD: Concerto in C in one movement
for Violoncello and Orchestra
BERNARD HERRMANN: Selections from Vertigo
ERICH KORNGOLD: The Adventures of Robin Hood
DAVID LANG: “Simple Song No. 3” from Youth
JOHN WILLIAMS: Rey’s Theme and Scherzo for
X-Wings from The Force Awakens
JOHN STEPHENS, LONNIE LYNN, CHE SMITH:
“Glory” from Selma
Lights! Camera! Music! Hollywood brought
together the best composers on earth with
visionary film directors. Film clips come to life on
a giant screen with the Seattle Symphony playing
music from Gone With the Wind to “Glory” from
Selma.
Efe Baltacıgil's performance is generously underwritten
by Patricia and Jon Rosen.
FESTIVAL PASSES
• FESTIVAL LANYARD
• VIP SEATING TO ALL CONCERTS*
*EXCLUDES MARYMOOR PARK CONCERT
• FESTIVAL T-SHIRT
• AN INVITATION TO THE KICK-OFF
PARTY
• AN INVITATION TO THE CLOSING
NIGHT PARTY
• SPECIAL MEET & GREET WITH
SYMPHONY MUSICIANS
HURRY!
PASSES ARE LIMITED.
PRESENTING SPONSOR OF THE SEATTLE SYMPHONY ORCHESTRA
MASTERWORKS SEASON SPONSOR
OF THE SEATTLE SYMPHONY
OFFICIAL AIRLINE OF THE
SEATTLE SYMPHONY ORCHESTRA
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I N T H I S I SS U E
MAY/JUNE/JULY 2016
6 / CALENDAR
Plan your next visit
8 / THE ORCHESTRA
Meet the musicians
10 / NOTES
See what’s new at the
Seattle Symphony
12 / FEATURES
Link Up: Seattle Symphony
Giving a Gift to the Future
17 / CONCERTS
Learn about the music
you’re here to hear
64 / GUIDE
Information on Benaroya Hall
66 / THE LIS(Z)T
Seen and heard at the
Seattle Symphony
ON THE COVER:
Ludovic Morlot by Lisa-Marie Mazzucco
AT LEFT: Fly Moon Royalty (p. 24)
by Genevieve Alvarez
EDITOR: Heidi Staub
COVER DESIGN: Jessica Forsythe
© 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 5
CALENDAR
SUNDAY
MONDAY
MAY
TUESDAY
7pm The Merriman
Family Young
Composers
Workshop Concert
7pm The Starbucks
Chorus presents
Street Requiem
1
WEDNESDAY
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
May &
June
THURSDAY
FRIDAY
GiveBIG*
SATURDAY
Musical Legacy
Society Luncheon &
Recital*
7:30pm AHEPA
presents “A Sea Filled
with Music”
8pm Handel & Vivaldi
2
3
4
5
8pm Handel
& Vivaldi
8pm SHOWTUNES
presents Working
in Concert
6
7
2pm SHOWTUNES
presents Working
in Concert
7:30pm Northwest
Sinfonietta: Ravel &
Strauss
10 & 11:30am First
Concerts: The Flute
3pm Seattle
Youth Symphony
Orchestra:
Magnificent Tone
Poems
8pm Sonic
Evolution: This is
Indie!
7:30pm Seattle
Classic Guitar
Society presents
Jason Vieaux
8
2pm National
Geographic Live —
Ocean Wild
NATIONAL
9 GEOGRAPHIC LIVE
10
7:30pm National
Geographic Live —
Ocean Wild
7pm Byron
Schenkman &
Friends: Beethoven
& Schubert
7:30pm National
Geographic Live —
Ocean Wild
11
12
7:30pm Seattle Arts
& Lectures presents
The Moth Mainstage
7pm Ten Grands
13
8pm
Sci-Fi at the Pops
14
11am
Carnival of the
Animals
8pm
Sci-Fi at the Pops
15
16
17
18
2pm
Sci-Fi at the Pops
19
20
7:30pm Live @
Benaroya Hall: A
Tribute to Woody
Guthrie and His
Month of Song
4pm Music of
Remembrance
presents Out of
Darkness
22
23
29
30
2pm Ravel Piano
Concerto
24
25
6:30pm ANCOP
presents “Home
Again” with
Stephanie Reese
26
JUNE
12:30pm Musicians
Circle Luncheon*
7pm Open
Rehearsal*
7:30pm
Shostakovich
Symphony No. 4
SCI-FI AT THE POPS
31
1
7:30pm Brahms
& Dvořák
21
27
10:30am Tiny Tots:
Shine-Time Music
Olympics
2
7:30pm Gershwin
& Beethoven
3
12pm Gershwin
& Beethoven
28
9:30, 10:30 & 11:30am
Tiny Tots: Shine-Time
Music Olympics
2pm Seattle
Philharmonic
Orchestra: Mahler’s
“Titan”
8pm Shostakovich
Symphony No. 4
4
2pm Northwest
Girlchoir: On the
Town
8pm Gershwin
& Beethoven
5
6
7
8
9
7:30pm
Joseph Adam
10
8pm TUNING UP!
Rhapsody in Red,
White & Blue
11
7:30pm Seattle
Repertory Jazz
Orchestra: Big Band
Bossa Nova
8pm Club Ludo*
12
13
7:30pm
SPELLBOUND The
Theremin Returns
19
4pm The Seattle
Symphony Plays
Gershwin at
Marymoor Park
20
7:30pm STAGE
& SCREEN From
Appalachian Spring
to the Red Violin
21
SEATTLESYMPHONY.ORG
22
7:30pm TRIADIC
MEMORIES
A Minimalist
Masterpiece
27
LEGEND: Seattle Symphony Events
15 TUNING UP! FESTIVAL
16
6pm Exit
Philanthropy*
12:30pm
Watjen Concert
Organ Recital–
Demonstration
26
6
14
28
Benaroya Hall Events
23
7:30pm THE
LIGHT THAT FILLS
THE WORLD A
Meditation in Sound
& Light
29
30
17
8pm BERNSTEIN
& BEYOND Great
American Chamber
Music
18
7:30pm Ensign
Symphony & Chorus:
American Salute
7:30pm Outback
Concerts presents
Michael Carbonaro
Live
24
JULY
10pm IN THE WHITE
SILENCE: John
Adams’ Alaskan
Landscapes
1
25
8pm LIVE WITH THE
SILVER SCREEN
The Symphony in
Hollywood
2
*Donor Events: Call 206.215.4832 for more information
Photos: National Geographic Live — Ocean Wild (May 15–17) by Brian Skerry;
Sci-Fi at the Pops (May 20–22); Tuning Up! Festival (June 17–July 2)
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:
2015
LISTEN
16
BOLDLY
SEASON
HOW TO ORDER:
JUNE 2 & 4
SHOSTAKOVICH
SYMPHONY NO. 4
Northwest Boychoir
Men of the Seattle Symphony Chorale
STRAVINSKY: Symphony of Psalms
SHOSTAKOVICH: Symphony No. 4
Shostakovich’s overwhelming Symphony No. 4
is one of the composer’s boldest scores. A night
of masterpieces!
June 2 performance sponsored by
P.O. Box 2108, Seattle, WA 98111-2108
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.
WITH THE SEATTLE SYMPHONY
Howard Shore, conductor
ONLINE:
seattlesymphony.org/give
CORPORATIONS:
FOUNDATIONS:
206.215.4838
foundations@seattlesymphony.org
INDIVIDUALS:
206.215.4832
friends@seattlesymphony.org
PLANNED AND ESTATE GIVING:
206.215.4852
plannedgiving@seattlesymphony.org
SPECIAL EVENTS:
206.215.4868
specialevents@seattlesymphony.org
MAILING ADDRESS:
P.O. Box 21906, Seattle, WA 98111-3906
CONNECT WITH US:
JULY 15–17
THE LORD OF
THE RINGS: THE
FELLOWSHIP OF
THE RING
HOW TO GIVE:
206.215.4721
corporatesponsorship@seattlesymphony.org
LORD OF
THE RINGS
LUDOVIC
MORLOT
Witness The Fellowship of the Ring from The Lord
of the Rings, the first film of the beloved trilogy, on
a giant screen as the Seattle Symphony performs
the score LIVE! This epic score composed and
orchestrated by Academy Award-winner Howard
Shore will be performed live by the orchestra and
two full choirs. See the film as you never
have before!
JUNE 9–11
GERSHWIN &
BEETHOVEN
ANNA CLYNE: This Midnight Hour (U.S. Premiere)
GERSHWIN: Concerto in F
BEETHOVEN: Symphony No. 7
Artist in Residence Jean-Yves Thibaudet brings
Gershwin’s jazzy Concerto in F to Benaroya Hall.
Music Director Morlot leads the orchestra in
Beethoven’s exhilarating Symphony No. 7.
JEAN-YVES
THIBAUDET
Jean-Yves Thibaudet’s performances are generously
underwritten by Sheila B. Noonan and Peter M. Hartley.
June 9 performance sponsored by
facebook.com/seattlesymphony
twitter.com/seattlesymphony
FO R TI C K ETS:
instagram.com/seattlesymphony
Listen Boldly app
206.215.4747 | SEATTLESYMPHONY.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
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
6720 E Green Lake Way N
Seattle, WA 98103
206-517-2213
sgregory@hearthstone.org
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
Joseph Kaufman
Assistant Principal
Ted Botsford
Jonathan Burnstein
Jennifer Godfrey
Travis Gore
Jonathan Green
FLUTE
www.hearthstone.org
Life Plan Community
at Green Lake
Independent, Assisted, Memory
and Skilled Living Options
Elisa Barston
Principal
Supported by Jean E. McTavish
Michael Miropolsky
John & Carmen Delo
Assistant Principal Second Violin
Kathleen Boyer
Gennady Filimonov
Evan Anderson
Natasha Bazhanov
Brittany Boulding
Stephen Bryant
Linda Cole
Xiao-po Fei
Sande Gillette
Artur Girsky
Andrew Yeung
VIOLA
Susan Gulkis Assadi
PONCHO Principal Viola
Arie Schächter
Assistant Principal
Mara Gearman
Timothy Hale
Vincent Comer
Penelope Crane
Wesley Anderson Dyring
Sayaka Kokubo
Rachel Swerdlow
Julie Whitton
CELLO
6850 Woodlawn Ave NE
Seattle, WA 98115
206-517-2110
villagecove@hearthstone.org
www.villagecove.org
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
Geoffrey Bergler
TROMBONE
Ko-ichiro Yamamoto
Principal
David Lawrence Ritt
Stephen Fissel
Open Position
Principal
Supported by David J. and Shelley Hovind
BASS TROMBONE
Jeffrey Barker
Associate Principal
TUBA
Judy Washburn Kriewall
Zartouhi Dombourian-Eby
Stephen Fissel
Christopher Olka
Principal
TIMPANI
PICCOLO
SECOND VIOLIN
Alexander White
Assistant Principal
Robert & Clodagh Ash Piccolo
Michael Crusoe
Principal
PERCUSSION
OBOE
Mary Lynch
Principal
Ben Hausmann
Associate Principal
Chengwen Winnie Lai
Stefan Farkas
ENGLISH HORN
Michael A. Werner
Principal
Michael Clark
HARP
Valerie Muzzolini Gordon
Principal
Supported by Eliza Flug in memory of
Martin Flug
Stefan Farkas
KEYBOARD
CLARINET
Benjamin Lulich
Mr. & Mrs. Paul R. Smith Principal Clarinet
Laura DeLuca
Dr. Robert Wallace Clarinet
Kimberly Russ, piano +
Joseph Adam, organ +
PERSONNEL MANAGER
Scott Wilson
Eric Jacobs
ASSISTANT PERSONNEL
MANAGER
E-FLAT CLARINET
Keith Higgins
Laura DeLuca
LIBRARY
BASS CLARINET
Eric Jacobs
Patricia Takahashi-Blayney
Principal Librarian
BASSOON
Robert Olivia
Associate Librarian
Seth Krimsky
Principal
Jeanne Case
Librarian
Paul Rafanelli
Mike Gamburg
Rachel Swerdlow
Assistant Librarian
CONTRABASSOON
TECHNICAL DIRECTOR
Joseph E. Cook
Mike Gamburg
HORN
Jeffrey Fair
Charles Simonyi Principal Horn
Mark Robbins
Associate Principal
ARTIST IN ASSOCIATION
Dale Chihuly
MUSIC ALIVE
COMPOSER IN RESIDENCE
Trimpin
Jonathan Karschney
Assistant Principal
HONORARY MEMBER
Cyril M. Harris †
Adam Iascone
John Turman
Cara Kizer*
+ Resident
* Temporary Musician for 2015–2016 Season
† In Memoriam
** On Leave
8
SEATTLESYMPHONY.ORG
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; 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.
OUR MISSION
The Seattle Symphony unleashes the power of music, brings people together, and lifts the human spirit.
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
SoYoung Kwon
LIFETIME DIRECTORS
David Hovind
Rebecca Layman Amato
Ned Laird*
Henry James
René Ancinas
Jeff Lehman*
Llewelyn Pritchard
Chair
Claire Angel
Dawn Lepore
Richard Albrecht
Sherry Benaroya
Brian Marks*
Susan Armstrong
James Bianco
Catherine Mayer
Robert Ash
Rosanna Bowles
Cookie Neil
William Bain
Nancy Neraas
Bruce Baker
Laurel Nesholm*
Cynthia Bayley
Sheila Noonan
Alexandra Brookshire
Jay Picard
Phyllis Byrdwell
Bayan Towfiq
Phyllis Campbell
Nancy Evans
Nicole Vogel
Mary Ann Champion
Kathy Fahlman Dewalt
Stephen Whyte*
Robert Collett
Renée Brisbois
Paul Brown
Amy Buhrig
Jean Chamberlin
Susan Detweiler
Larry Estrada
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
David Davis
DESIGNEES
Dorothy Fluke
Robin Denis
President, Seattle Symphony Chorale
David Fulton
Ryan Douglas
President, WolfGang Advisory
Council
Ruth Gerberding
Richard Mori
President, Seattle Symphony
Volunteers
Barbara Goesling
Valerie Muzzolini Gordon
Orchestra Representative
Orchestra Representative
Jean Gardner
James Gillick
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
Patricia Tall-Takacs
SEATTLE SYMPHONY
FOUNDATION BOARD
OF DIRECTORS
Jean-François Heitz
President
Kathleen Wright
Vice President
Marco Abbruzzese
Treasurer
Michael Slonski
Secretary
James Bianco
Brian Grant
J. Pierre Loebel
Laurel Nesholm
David Tan
Muriel Van Housen
Rick White
* Executive Committee Member
+ In Memoriam
Marcus Tsutakawa
Cyrus Vance, Jr.
Karla Waterman
Ronald Woodard
Arlene Wright
Pat Holmes
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
NEWS FROM:
LESLIE JACKSON CHIHULY, BOARD CHAIR
Welcome to Benaroya Hall.
Photo: Scott Leen
I invite you to join us on May 14 for Ten Grands, a
unique and inspirational concert with ten grand
pianos played by ten amazing pianists, benefiting
our education programs. This concert is a great
opportunity not only to experience a unique event in
Benaroya Hall, but also to support the programs that
make such an impact on our community.
Link Up: Seattle Symphony culminates this month as
over 10,000 students take over Benaroya Hall. Through this program, Puget Sound
elementary school students in grades 3–5 have the opportunity to experience music
through participatory curriculum, learning songs to sing and play on the recorder.
This preparation at school leads to a live performance at Benaroya Hall in May when
students play along with our orchestra from their seats. This is an unforgettable and
invaluable experience for these students, and I am happy to report that the program is
continuing to expand and reach even more students in Washington State. For more on
Link Up, see pages 12–13.
+
75
You won’t want to miss Tuning Up!, the two-week festival of American music from
June 17–July 2. Music Director Ludovic Morlot and the orchestra will take you on a
journey of American invention from avant-garde to minimalism, jazz to Broadway
and classics to Hollywood. Find out more about the eight Benaroya Hall concerts by
unfolding the cover of this program, and don't miss our concert at Marymoor Park
on June 26. Thanks to generous support from our Seattle Symphony Board member,
Judith Fong, all seats at Benaroya Hall will be $25 as part of a thoughtful effort to
provide access to more music lovers.
Town Hall provides low-cost
rental rates, production
expertise, and marketing
suppor t to more than 75
organizations each year.
At our Annual Meeting in March we announced a balanced budget for our 2014–2015
season. Thank you for your continued support. It is because of you that programs like
Link Up can grow, and artistic endeavors like the summer festival can happen for our
community.
As we approach the end of the season and the end of our fiscal year in June, we need
your support. Without your generosity, the inspiration we create through music would
not be possible.
Enjoy the music,
Leslie Jackson Chihuly
NOTA BENE
450
Over 450 events take place
at Town Hall annually,
bringing over 100,000
people through our doors.
LOVETHISTOWN.ORG
10
{
SEATTLESYMPHONY.ORG
1_3 VERT SymphonyEncore ad- MAY 2016.indd 1
4/25/16 2:42 PM
For the past three years the Seattle Symphony
has partnered with Mary’s Place to empower mothers in challenging situations by
helping them write personal lullabies for their children. On May 29 their lullabies
will be performed at the Northwest Folklife Festival at Seattle Center along with
related activities:
LULLABY PROJECT AT FOLKLIFE
12 noon - Lullaby Project Film & Panel Discussion | SIFF Film Center
1pm - Create Your Own Lullaby | Armory Lofts - Music Workshops
2pm - Lullaby Project Performance | Center Theatre
Find out more about the Lullaby Project at Folklife at seattlesymphony.org/folklife.
{
+
TWO NEW
RELEASES ON
OUR GRAMMYWINNING LABEL
On June 10 Seattle Symphony
Media releases music by Stravinsky,
Debussy and Mahler.
Stravinsky’s Petrushka is a much-loved
virtuoso classic of the orchestral repertoire,
and receives a scintillating reading here in
this live recording by Ludovic Morlot and
the Seattle Symphony. But what makes
the disc extra special is the addition of
Debussy’s little-known and rarely recorded
children’s ballet, La boîte à joujoux (“The
Toy Box”), which Morlot brings lovingly
to life. A celebration of children’s play
captured vividly in works by two of the
20th century’s greatest composers!
A powerful and moving document of
unforgettable live performances of
Mahler’s Symphony No. 10 (Deryck
Cooke final version), with the Seattle
Symphony under its Principal Guest
Conductor Thomas Dausgaard. Of the
live performance The Seattle Times
wrote, “It was impossible to be in the
house and not realize that something
rare and significant had taken place.”
CDs may be purchased at Symphonica,
The Symphony Store, at Benaroya
Hall. Digital downloads and CDs are
available through iTunes and Amazon.
Find out more about these and other
Seattle Symphony Media recordings
at recordings.seattlesymphony.org.
LINK UP:
SEATTLE SYMPHONY
BY DEANNA DUFF
A crowd of musicians fills Room 124 for
a practice session of Johann Strauss,
Jr.’s The Blue Danube. Instruments
chirp in anticipation as the waltz’s
first notes resonate from the piano.
Pigtails bob and sparkly sneakers
keep time as over two dozen 4thgraders play along using recorders.
“Place your fingers in the bunnyear position for this part,” advises
Amanda Lattin, Seahurst Elementary
School music teacher.
“I like it because we actually get to
play an instrument and I know the
more I practice, the better I’ll get,” says
Julysa Rosales Cervantes, age 10.
Public Schools’ Lawton Elementary.
“The kids are so entertained, but also
participating and focusing at the same
time. Afterwards, there are students
who insist their parents take them to
hear more symphony concerts.”
Julysa Rosales Cervantes, student at
Seahurst Elementary School.
“I like it because
we actually get to
play an instrument
and I know the
more I practice,
the better I’ll get.”
Seahurst, in the Highline School District,
is one of 107 schools from Marysville
to Olympia participating in the Seattle
Symphony’s Link Up program. New
York’s Carnegie Hall Weill Music Institute
developed and provides the curriculum,
teacher guides and student workbooks at no cost to 80 partner
orchestras around the world. The hands-on programming
includes singing, playing recorders and additional music
instruction for grades 3–5. For Puget Sound students, the
experience culminates in a field trip to Benaroya Hall when
students perform from their seats along with the Symphony.
“The first note that drops from the Symphony and magic
happens,” says Elaine Cooper, music teacher at Seattle
12
SEATTLESYMPHONY.ORG
Since becoming a Link Up national
partner during the 2012–2013 season,
the Symphony has welcomed over
27,000 students to join the orchestra
for an afternoon of playing music.
“We wanted to offer more than having
school groups bus to the hall and listen
passively without much preparation.
Link Up engages students on so many
more levels,” says Laura Reynolds,
Seattle Symphony’s Director of
Education & Community Engagement.
Link Up augments existing music
programs and fills gaps for schools
without music funding. Teachers either
incorporate the curriculum on their
own or host 5- or 10-week residencies whereby Symphony
Teaching Artists visit classrooms. Weekly sessions average
45–60 minutes. A 20-week option is being piloted this
season. Currently, 21 schools host residencies.
“Having professional musicians visit brings community
connections and real-world applications that kids might not
otherwise experience,” says Samantha Bosch, one of a dozen
Teaching Artists.
Nicknamed Ms. Sam, kids look forward to her “Mystery Instrument of
the Week” — a show-and-tell of anything from trumpets to piccolos.
She currently teaches Link Up at Seattle’s Broadview-Thomson
School and the New Futures after-school program, which works with
underserved youth in South Seattle and Highline School District.
“I have kids from all different cultural and language backgrounds,
as well as learning abilities, and Link Up really builds bonds,”
says Bosch.
As of 2015, Highline School District adopted Link Up districtwide
for all 4th-graders at 18 elementary schools. Part of Link Up’s
appeal is that students are allowed to keep their recorders.
Washington nonprofit Music4Life helps provide for Highline
students who cannot afford their own. The program also caught
the attention of country-pop superstar Taylor Swift who donated
$50,000 to the Symphony with half allocated to Link Up. Donations
make a huge difference in making Link Up available to young
people who might not otherwise experience it. Nearly 70% of
Highline School District students qualify for free or reduced lunch.
“From an equity standpoint, one of the best aspects of Link Up
is every student can participate regardless of socioeconomic
status,” says Stefan Nelson, Highline’s Visual and Performing Arts
Specialist. “Music can be a common thread and help kids positively
engage at school.”
In addition to music skills and appreciation, students hone listening
ability, collaboration, discipline and perseverance, which positively
impacts their general studies.
Students at Bow Lake Elementary School with Seattle
Symphony Teaching Artist Jessica Harvey.
Thank you to each and every supporter of the Seattle Symphony.
Your gifts help make Link Up a reality!
The Seattle Symphony’s Family, School & Community programs are supported
by 4Culture, the Ann and Gordon Getty Foundation, The Boeing Company, the
Burlington Northern Santa Fe Foundation, Chihuly Garden & Glass, The Clowes
Fund, Inc., the Elizabeth McGraw Foundation, the Fales Foundation Trust, the
League of American Orchestras, Richard and Francine Loeb, Kjristine Lund, Music
Works Northwest, the National Endowment for the Arts, New Music USA, the
Peg and Rick Young Foundation, Peo Tours, Inc., Seattle Pacific University, the
Seattle Office of Arts & Culture, The Sheri and Les Biller Family Foundation, the
Snoqualmie Tribe, Christine and Michel Suignard, Ten Grands Seattle, the U.S.
Bank Foundation, UW Autism Center, Wells Fargo and the Wyman Youth Trust.
To support Link Up, visit seattlesymphony.org/give or call Donor Relations
at 206.215.4832. Every gift makes a difference!
Photos by Brandon Patoc.
“It transcends music. It’s applicable to schoolwork, college, career
and all future endeavors because it develops vital 21st century
skills,” says Pamela Ivezic, Seattle School District Instructional
Services Music Coach.
In Lattin’s class at Seahurst, normally reticent students find their
voices both literally and figuratively. They are so excited to
participate, that they enthusiastically sing, help one another and
hands shoot into the air to answer questions. The class collectively
decided they are not yet ready to take their recorders home to
practice. They will let Lattin know when they are.
“It’s taught them citizenship skills of how to positively interact and
work together. It’s huge for them to be so open and vulnerable with
each other,” Lattin says. “You see progress not only musically, but
the maturity it helps foster.”
Lattin’s class will attend and perform at Seattle Symphony’s May
19 Link Up event. “I love this song!” a young voice exclaims as the
class practices. The children stare intently as Lattin demonstrates a
particularly challenging part. They master it after a few tries.
“I think you’re ready for the big time playing with the Seattle
Symphony,” Lattin smiles as the students clap and erupt into cheers
of, “We did it!”
Deanna Duff is an award-winning freelance writer, supporter of
the arts and lifelong Seattle Symphony enthusiast.
GIVING A GIFT TO
THE FUTURE
Honoring the Dr. Robert Wallace Clarinet Chair
BY MARTIN K. JOHANSSON
Photo: Brandon Patoc
I decided to offer a legacy gift to the
Symphony with both the hope and
optimism that it will deeply touch,
in the most profound ways, many
people in many future generations.
a radiant performance that was perfectly balanced and rigorously
intellectual. How he produced this alchemy, I cannot explain.
Dr. Robert Wallace and Laura DeLuca
On January 22 the Seattle Symphony announced and celebrated
the Dr. Robert Wallace Clarinet Chair and the installation of Laura
DeLuca as its first recipient. During the ceremony Dr. Wallace
spoke about his love of classical music and the motivation behind
his generous gift.
Do you remember the first time you experienced a live
symphony orchestra?
Dr. Wallace: I grew up in Miami in the 1950s and 1960s. My first
encounter with a major symphony orchestra was during my high
school years when the New York Philharmonic under Leonard
Bernstein gave a concert in the Miami Beach Convention Center.
They performed Beethoven’s Fifth Symphony. I still vividly
remember the overwhelming sound of a full orchestra led by an
enthusiastic conductor. It was an event that got my full attention.
What performances or performers do you remember most
fondly?
DW: Pierre Boulez, who sadly passed away earlier this year, was
one of the towering musical figures of our time. I was fortunate
enough to see and hear him conduct on two occasions: in Royce
Hall with the Los Angeles Philharmonic when he conducted
Debussy’s La mer, producing gorgeous sounds and an evocative
atmosphere; and an even more exciting concert honoring his 80th
birthday when he conducted Ravel’s complete Daphnis et Chloé
ballet with the BBC Symphony Orchestra. Boulez emphasized
clarity, structure and attention to detail but was still able to produce
14
SEATTLESYMPHONY.ORG
After retiring to Seattle in 1999, you became a regular at the
Seattle Symphony. What are your thoughts about your adopted
orchestra?
DW: I was greatly relieved when I first heard the Seattle Symphony
and delighted to know it was a high quality orchestra. Under the
strong leadership of Maestro Ludovic Morlot, Leslie Chihuly [Board
Chair] and Simon Woods [President & CEO] the Symphony is poised
for success in the future.
What inspired your decision to endow the clarinet chair?
DW: Sustaining performing arts organizations is crucial. Performing
arts have a learned vocabulary and syntax that connect at a core
level and have the capacity to change who we are, and can
become, since they tap directly into the creative minds of the past.
I strongly believe that we must strive to encourage the younger
generations to fully appreciate what prior generations have given
us and value them as treasured gifts; for in the end they help
structure our souls and our emotional lives. This is why I decided
to offer a legacy gift to the Symphony with both the hope and
optimism that it will deeply touch, in the most profound ways, many
people in many future generations.
The Seattle Symphony thanks Dr. Robert Wallace for his generous,
visionary support of the orchestra, and for helping to ensure
that the Symphony continues to bring joy and inspiration to our
community for generations to come.
For information on how you can support the Seattle Symphony,
visit us online at seattlesymphony.org/give or call 206.215.4832.
YOU ARE AT THE HEART
OF THE SYMPHONY!
The concert you’re about to enjoy is only possible because of
donations made by generous music-lovers like you.
Please consider making a donation today, and become one of the visionary people
who make outstanding symphonic music available to the Seattle community.
Seattle Symphony donors enjoy special access to the music and orchestra, including
invitations to Open and Onstage Rehearsals, in-home recitals, and much more.
Read about all the levels and benefits of giving at seattlesymphony.org/give/individuals.
SEATTLESYMPHONY.ORG/GIVE | 206.215.4832
May/June/July 2016
Volume 29, No. 9
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May 6–July 17, 2016
CO N C ERTS
P. 18
P. 42
Friday, May 6, at 8pm
Saturday, May 7, at 8pm
Tuesday, June 7, at 7:30pm
HANDEL & VIVALDI
BRAHMS & DVOŘÁK
CHAMBE R SE RIES
BAROQUE & WINE SERIE S
P. 22
TOMOKO MUKAIYAMA, P. 24
Friday, May 13, at 8pm
SONIC EVOLUTION:
THIS IS INDIE!
SPECIAL PERFORMANCES
TEN GRANDS
SPECIAL PERFORMANCES
TEN GRANDS, P. 25
Thursday, June 9, at 7:30pm
Friday, June 10, at 12 noon
Saturday, June 11, at 8pm
GERSHWIN &
BEETHOVEN
P. 25
Saturday, May 14, at 7pm
P. 28
Friday, May 20, 2016, at 8pm
Saturday, May 21, 2016, at 8pm
Sunday, May 22, 2016, at 2pm
SCI-FI AT THE POPS
SEATTLE POPS SE RIES
Ti t l e Sp onsor
P. 30
JEAN-YVES THIBAUDET, P. 41
P. 44
Thursday, June 2, at 7:30pm
Saturday, June 4, at 8pm
SHOSTAKOVICH
SYMPHONY NO. 4
P. 50
Monday, June 13, at 7:30pm
JOSEPH ADAM
FLUK E /GABELE IN
ORGAN RECITALS
P. 52
Friday, July 15, at 8pm
Saturday, July 16, at 8pm
Sunday, July 17, at 2pm
THE LORD OF
THE RINGS:
THE FELLOWSHIP
OF THE RING
WITH THE SEATTLE
SYMPHONY
SPECIAL PE RFORMANCES
THE LORD OF THE RINGS: THE FELLOWSHIP
OF THE RING, P. 52
P. 38
Sunday, June 5, at 2pm
RAVEL
PIANO CONCERTO
Photo credits (top to bottom): Takashi Kawashima, Brandon
Patoc, Decca, courtesy of The Lord of the Rings
PROGRAM NOTES
A N TO N I O V I VA L D I
Violin Concerto in C major, Op. 33,
No. 2, RV 177
HANDEL & VIVALDI
B A R OQ UE & WINE S ERIES
BORN:
DIED:
Dmitry Sinkovsky, conductor, counter-tenor & violin
Seattle Symphony
WORK COMPOSED:
ANTONIO VIVALDI
Violin Concerto in C major, Op. 33, No. 2, RV 177
Allegro ma poco
Largo
Allegro
DMITRY SINKOVSKY, VIOLIN
12’
ARCANGELO CORELLI
Concerto grosso in B-flat major, Op. 6, No. 11
Preludio : Andante largo
Allemanda : Allegro
Adagio – Andante largo
Sarabanda : Largo
Giga : Vivace
TOMASO ALBINONI
“Pianta bella” from Il nascimento dell’Aurora (“The Birth of Aurora”) DMITRY SINKOVSKY, COUNTER-TENOR
10’
GEORGE FRIDERIC HANDEL
“Furibondo spira il vento” (“Furiously blows the wind”) from Partenope,
HWV 27
DMITRY SINKOVSKY, COUNTER-TENOR
4’
6’
INTERMISSION
PIETRO LOCATELLI
Concerto grosso in E-flat major, Op. 7, No. 6, 22’
“Il pianto d’Arianna” (“The weeping of Arianna”)
Andante – Allegro – Adagio – Andante –
Allegro – Largo
Largo andante
Grave
Allegro – Largo
GEORGE FRIDERIC HANDEL
“But who may abide the day of His coming” from Messiah
DMITRY SINKOVSKY, COUNTER-TENOR
4’
ANTONIO VIVALDI
Violin Concerto Op. 8, No. 7 in D minor, “Per Pisendel”, RV 242, from Il cimento
dell’armonia e dell’inventione (“The Contest
Between Harmony and Invention”)
Allegro
Largo
Allegro
DMITRY SINKOVSKY, VIOLIN
7’
Media Sponsors: Classical KING FM 98.1 and KCTS 9
Please note that the timings provided for this concert are approximate.
March 4, 1678, in Venice
July 18, 1741, in Vienna
ca. 1734
Vivaldi spent most of his professional life
at the charitable institution known as La
pietà, one of four seminary/hospitals in
Venice devoted to the care of foundling
girls. As maestro di violino, the composer
had at his disposal a well-disciplined
orchestra comprised of the girls who
lived and trained at La pietà — on whom
to try out his musical ideas. More than
500 concertos flowed from his neverdry pen — some 230 for solo violin. A
lightning-fast composer, he boasted that
he could compose faster than a copyist
could notate the emerging music.
Vivaldi’s penchant for bold themes and
motoric pacing suited the speed with
which he wrote, a partial explanation
for the relatively loose and/or minimal
counterpoint of his instrument music.
(Of course, “learned” contrapuntal writing
enjoyed a higher status in Germany than
in Italy.) Though not the originator of
the “modern” concerto format, i.e., fast–
slow–fast movements, his pioneering
role in music publishing all but assured
wide currency for his music throughout
Europe. Bach was amply familiar with his
concertos, borrowing a large handful for
his own elaboration and enjoyment.
The opening Allegro ma poco begins
with a chugging accompaniment
in the lower strings as the primary
theme is repeated as it rises in pitch.
Punching chords and emphatic rising/
falling dynamics further the sense of
unstoppable fervor. Above the fray
the solo violin engages in virtuosic
passagework balanced by moments of
lyrical sweetness.
Marked Largo, the middle movement
provides a slow rhythmically dotted
accompaniment while the lyrical solo line
employs a series of graceful trills.
Please turn off all electronic devices and refrain from taking photos or video.
Performance ©2016 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
The concluding Allegro moves
forward via a folk-like dotted rhythmic
accompaniment suggestive of a rustic
by Steven Lowe
drone while solo violin arpeggios rapidly
soar and fall. In the final minutes the
textures lighten and the overall effect is
deft and mercurial.
A R C A N G E LO
CORELLI
Concerto grosso in B-flat major, Op. 6,
No. 11 BORN:
February 17, 1653, in Fusignano, near
Imola, Italy
DIED:
Concerto No. 11 in B-flat opens with
a slow, gently rocking introductory
Preludio that yields to the concertino
(the smaller solo group within the
ripieno, i.e., the entire ensemble).
The ensuing Allemanda announces
its arrival with a series of boldly
inflected chords. Scurrying string
figures accompany the melodic line.
A brief Adagio comes next, bearing
darker expressive harmonies beneath
a searching solo violin line; silences
between chords enhance emotion.
January 8, 1713 in Rome
WORK COMPOSED:
(ca. 1680–90)
One of the great lights of the middle
Baroque was Arcangelo Corelli, highly
esteemed as a violinist and as an
imaginative and fastidious composer
who wrote comparatively little music,
all of it highly polished and jewel-like.
Fewer than 100 pieces survive, include
his landmark set of 12 concerti grossi,
Op. 6, widely known and emulated
by composers throughout Europe. He
virtually invented the concerto grosso,
a multi-movement work that divides the
orchestra in a larger component called
the ripieno for the comparatively easier
music, and the smaller concertino,
which handles the more virtuosic lines.
Corelli began writing concertos in the
1680s. In 1710, he gathered many of
these musical offspring for publication
as a set, but died before completing the
task. A student, Matteo Fornari, facilitated
editing and arrangement of the final
manuscripts; the collection was published
in 1714 by Estienne Roger of Amsterdam.
Of the dozen works, the “Christmas
Concerto” (No. 8) is unquestionably
the best known, but every one of
these splendid works is a thing of
exquisite beauty and craftsmanship.
Numbers 1–8 are designated da chiesa
(“of the church”), which simply means
they have no dance movements; they
are not necessarily religious in nature.
The final four works are da camera
(“of the chamber”) with movement
titles and rhythmic formulas drawn
from the dance, e.g., Allemanda,
Corrente, Sarabanda and Giga—as
well as Gavotta and Minuetto.
Another slow movement, marked
Andante, lives in the minor mode and
features another walking bass line
with typically rich Corellian harmonic
suspensions. A subtle “echo” effect
adds further interest. A Sarabanda
follows graced with a chordal
accompaniment under a sweet and
lyrical melody. With a nod towards
Britain, a quick-paced Giga (“Gigue”)
briefly detours in the minor mode
before ending resolutely in the major.
TO M A S O A L B I N O N I
cantatas and hundreds of instrumental
works comprise his extensive canon.
Though enjoying wide currency during
his lifetime, much of his music (and
reputation) was forgotten until the recent
resurgence of interest in lesser-known
figures from the Baroque era. Admirers
note a fine melodic sense while
concurring with long-standing assertions
that he was far less attentive to actual
part-writing than, say, the unusually
fastidious and enterprising Corelli.
(Similar plaints have been lodged against
Vivaldi, of course.)
Il nascimento dell’Aurora is not an opera
but what is known as a “festa pastorale.”
Essentially a courtly entertainment
largely unburdened with action, the story
focuses on a group mythical figures
offering celebratory arias praising the
goddess of the dawn. The aria, “Pianta
bella” (“Beautiful plant or flower”) opens
with a lovely introduction in the strings
that leads into a lyrical and gently
rocking aria. The vocal line, consisting
of held single notes alternating with
arpeggiated passages, moves at a
slowish pace before ending with an
instrumental postlude.
“Pianta bella” from Il nascimento
dell’Aurora (“The Birth of Aurora”)
BORN:
DIED:
June 8, 1671, in Venice
June 17, 1750 or 1751, in Venice
WORK COMPOSED:
ca. 1708 or 1710
WORLD PREMIERE:
August 15, 1708, in Vienna
GEORGE FRIDERIC
HANDEL
“Furibondo spira il vento” (“Furiously
blows the wind.”) from Partenope,
HWV 27
or ca. 1710 in Venice
“Tomaso Albinoni is something of a
biographer’s nightmare. He did not travel
much beyond Italy — a visit to Munich
in 1722 is his only foreign journey on
record.” So wrote A. David Hogarth
some 30 years ago in his program notes
to a set of concertos by the Venetian
composer. More recent articles, as in
the New Grove Dictionary of Music and
Musicians, don’t flesh out much more
information about this self-described
dilettante who wrote scads of music
while remaining relatively insulated from
the “normal” world of composers, due
largely to his ample inheritance and
hobnobbing with noble patrons.
More than 50 operas (some sources say
the figure is around 80), almost as many
BORN:
February 23, 1685, in Halle, Saxony,
Germany
DIED:
April 14, 1759, in London
WORK COMPOSED:
1730
WORLD PREMIERE:
Feb. 24, 1730, at the King’s
Theatre in London
When Handel visited in London in 1710,
after study and success in Germany
and Italy, the world could little know that
this son of a German barber-surgeon
would become his adoptive country’s
greatest musical monument. Absorbing
the operatic style of the Italians and
the contrapuntal tradition of his native
land, Handel was a worldly and utterly
pragmatic figure, adept at reflecting and
shaping the tastes of his English public
and patrons, hammering musical clichés
PROGRAM NOTES
into magnificent musical creations.
Though never speaking the King’s
English with real fluency and grace, he
certainly understood this strange and
alien tongue enough to master it in his
sublime musical settings. Eminently
practical, he had the sense and ability to
take poorly scripted librettos and create
stunning musical portraits, even on
embarrassing texts.
The aria “Furibondo spira il vento”
(“Furiously blows the wind”) from the
second act of his lighthearted three
act opera Partenope is sung by one
of Partenope’s hopeful suitors after
the female military leader’s victorious
battle with the forces of her queen’s
enemy, Emilio. Both the instrumental
accompaniment and the aria itself reflect
the powerful winds through a rapidly
rising and falling musical line, a fine
example of Handel’s gift at word painting.
A brief and slower middle episode
brings a sense of inner reflection
before the stormy “A” section returns.
P I E T R O LO C AT E L L I
Concerto grosso in E-flat major,
Op. 7, No. 6, “Il pianto d’Arianna”
(“The Weeping Arianna”)
BORN:
DIED:
September 3, 1695, in Bergamo
March 30, 1764, in Amsterdam
WORK COMPOSED:
and brilliance which added to it. As a
composer, opinion was strongly partisan
and divided. The eminent Dr. Burney
dismissed his music as “...more surprise
than pleasure” but other commentators
were enamored of his novel ideas and
winning melodies.
Until Vivaldi essentially regularized
the three-movement concerto format,
many concerti grossi varied in the
number of movements as well as
breaking down individual movements
in contrasting sections. Such is the
case in with his Concerto grosso in
E-flat major, Op. 7, No. 6, “Il pianto
d’Arianna.” In the first movement a
brief, slow introduction is followed by
an agitated episode that pauses for a
slow violin solo in the nature of a sung
recitative over spare accompanying
chords. The movement progresses with
alternating slow and fast paragraphs.
The two Largos provide an extended
respite with quiet beauty enhanced by
Corelli-inspired suspensions. The closing
Grave is noteworthy for its quiet ending,
atypical for a Baroque concerto.
GEORGE FRIDERIC
HANDEL
“But who may abide the day of His
coming” from Messiah 1741
This vibrant Italian violin virtuoso earned
the posthumous soubriquet, “the
Paganini of the 18th century.” Locatelli
seems to have emerged as from a
void. An earlier belief that he studied
with Arcangelo Corelli is without basis,
though he may have studied with one
of Corelli’s rivals, Giuseppe Valentini.
In any case, by the 1720s Locatelli was
enjoying enormous financial success
as a violinist, touring Italy and Germany
for much of that decade before moving
permanently to Amsterdam in 1729 —
and his concertos do sound quite a bit
like Corelli’s splendid offerings. Locatelli
was known for the breadth of his culture
and was well-versed in philosophy,
ornithology, topography and history. As
a violinist he was admired for the sheer
passion of his playing, and the power
20
continued
SEATTLESYMPHONY.ORG
WORK COMPOSED:
1741
WORLD PREMIERE:
April 13, 1742, in Dublin,
Handel conducting
For untold numbers of believers in the
English-speaking world Handel’s Messiah
is by far Handel’s most beloved oratorio,
a work of both heartfelt intimacy and lifeaffirming grandeur. Its bountiful musical
beauties and depth of universal spiritual
qualities have also endeared it to nonChristians and people without religious
affiliations as well. Messiah was born
out of both economic worry on Handel’s
part, yet tapped into the composer’s
spiritual inclinations that operated
in tandem with his worldly savvy.
The aria, “But who may abide the day
of His coming” follows the agitated
bass aria “Thus saith the Lord.” Though
beginning with a minor-key evocation of
both sadness and hope the music soon
becomes a virtuosic and tempestuous
tour de force filled with great urgency,
urged onward by furiously energetic
strings. When the two sections are
repeated, they are enhanced by
highly embellished notes that reflect
heightened passion.
A N TO N I O V I VA L D I
Violin Concerto Op. 8, No. 7 in
D minor, “Per Pisendel”, RV 242,
from “Il cimento dell’armonia e
dell’inventione” (“The Contest
Between Harmony and Invention”)
WORK COMPOSED:
1725
“Everybody” knows Vivaldi’s iconic
Four Seasons, which constitute the first
four concertos of the Italian master’s
Op. 8 concertos, but most occasional,
if ardent, listeners to his celebration
of the seasons of the year, probably
aren’t familiar with the eight other
concertos in the set. For those folks,
the Concerto No. 7 in D minor will
be a treat, familiar in the nature of a
sibling but retaining its own identity.
The opening Allegro begins forcefully
with a main theme with upward
energetic leaps that add drama. The
solo violin line is fully exposed over the
basic accompaniment in the orchestral
strings. In the closing episode Vivaldi
floats the solo line of an ostinato pedal
point. A lovely Largo follows gently
prodded by a steady accompaniment.
When the solo line reappears Vivaldi
has filled out the tune and reaches a
higher level of warmth and intimacy.
A vibrant Allegro, bold and irrepressibly
energetic, closes the piece. The solo
violin line is increasing showy and
virtuosic with occasional chromatic
additions to the theme. Vivaldi was,
of course, a famed violinist and the
solo writing reflects his prowess and
experience writing violin concertos;
as noted above, he composed 230
of them!
© 2016 Steven Lowe
D M I T R Y S I N KO V S K Y
Conductor, counter-tenor & violin
T E X T S & T R A N S L AT I O N S
BACKGROUND
Dmitry Sinkovsky
was born in Moscow.
He graduated from the
Moscow Tchaikovsky
Conservatory and took
lessons with early
music pioneer Maria
Leonhardt.
& EDUCATION:
He has taken
innumerable prizes in major competitions
from the Premio Bonporti in Italy (2005) to
the Bach Competition in Leipzig (2006),
the Musica Antiqua Competition in Bruges
(2008) to the Romanus Weichlein prize
at the Biber competition in Austria in
2009 and first prize at the Telemann
Competition in Magdeburg (2011).
PRIZES & AWARDS:
In 2007, after having already
begun a notable career as a violinist,
Sinkovsky decided to seriously pursue
his talent as a counter-tenor as well. His
unique ability to switch from singing to
the violin and back again in concerts
has earned him great admiration and
enthusiasm from the public.
VOCALS:
“Virtuosity, elegance, expression,
imagination, all combined in Sinkovsky.”
(Le Monde, February 2013) “As a violinist
Sinkovsky has amazing skills. There
appears to be no technical hurdle to
exist for him, he takes the most difficult
passages with the greatest agility.”
(Augsburg Allgemaeine, October 2015)
“A phenomenal musician, giving himself
entirely to the music, with a fascinating
voice and crystal-clear intonation” (Alexei
Parin, Radio Orpheus, January 2011)
PRAISE:
“Pianta bella” from Il nascimento dell’Aurora (“The Birth of Aurora”)
Pianta bella, pianta amata,
ove giace il bel che adoro,
sempre cara a me sarai.
Ti perdoni irato il cielo,
ti rispetti il nembo e il gelo
e ‘l tuo bel non manchi mai.
Fair tree, beloved tree,
where lies the beautiful one that I love,
you will always be dear to me.
May the angry skies not harm you,
may storm and frost be gentle with you
and your beauty never fade.
“Furibondo spira il vento” from Partenope, HWV 27
Furibondo spira il vento
e sconvolge il cielo e il suol
Tal adesso l’alma io sento
Agitata dal mio duol
Furiously blows the winds
and stirs the heavens and the earth.
That is what I feel now in my soul
agitated by my grief.
“But who may abide the day of His coming” from Messiah
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)
WINNER OF 10 TONY AWARDS
■
SCORE BY ELTON JOHN
ISSAQUAH
MAY 12
– JULY 3
EVERETT
JULY
8– 31
ISSAQUAH (425) 392-2202 I EVERETT (425) 257-8600
VillageTheatre.org
SPONSORED IN PART BY
PROGRAM NOTES
SONIC EVOLUTION:
THIS IS INDIE!
Once again Sonic Evolution brings
together a variety of genres to
produce a unique cultural experience.
This time with world premieres by
William Brittelle and Michael Gordon,
including a film by Bill Morrison, and
new arrangements of Seattle-based
Fly Moon Royalty’s songs by William
Brittelle, Ryan Brown and Elliot Cole.
S P E CIAL PE RFO RMA NCES
Pablo Rus Broseta, conductor • Tomoko Mukaiyama, piano • Fly Moon Royalty
• Seattle Symphony
WILLIAM BRITTELLE
Love Letter for Arca (World Premiere)
1.—
2.—
3.
12’
MICHAEL GORDON /
The Unchanging Sea for Piano and Orchestra FILM BY BILL MORRISON
(World Premiere)
TOMOKO MUKAIYAMA, PIANO
21’
INTERMISSION
FLY MOON ROYALTY
“Piece of Me”
4’
FLY MOON ROYALTY
“In The Woods” 5’
FLY MOON ROYALTY
“Grown Man”
/ arr. Elliot Cole
FLY MOON ROYALTY
4’
FLY MOON ROYALTY
“I Miss Her”
/ arr. Elliot Cole
FLY MOON ROYALTY
5’
FLY MOON ROYALTY
“DNA”
/ arr. William Brittelle
FLY MOON ROYALTY
4’
PHIL COLLINS
“In The Air Tonight”
/ arr. William Brittelle
FLY MOON ROYALTY
6’
FLY MOON ROYALTY
“Rx”
/ arr. Ryan Brown
FLY MOON ROYALTY
3’
FLY MOON ROYALTY
“Higher”
/ arr. Ryan Brown
FLY MOON ROYALTY
4’
Fly Moon Royalty will announce additional selections from the stage.
William Brittelle’s Love Letter for Arca and the arrangements by William Brittelle, Ryan
Brown and Elliot Cole of Fly Moon Royalty’s pieces were commissioned by the Seattle
Symphony for this concert.
Michael Gordon’s The Unchanging Sea for Piano and Orchestra was co-commissioned by
the Seattle Symphony and the Rotterdam Philharmonic Orchestra.
Sonic Evolution 2 is presented as part of the Seattle Symphony’s New Music WORKS
initiative, which is supported in part by a grant from the National Endowment for the Arts.
New Music WORKS features commissions, concerts and educational activities that use
composition as a catalyst for collaboration and engagement in music.
Audience Development supported by The Wallace Foundation.
Co-presented with the Seattle International Film Festival
22
SEATTLESYMPHONY.ORG
Fans of Sonic Evolution may remember
Obituary Birthday (A Requiem for Kurt
Cobain), the work composed by William
Brittelle (b. 1976) for the inaugural Sonic
Evolution. The Brooklyn-based Brittelle
has continued to push the boundaries
of electro-acoustic composition in works
for large and small ensembles. He is
also a role model in the world of indie/
alt-classical/post-genre composition,
especially through his efforts as a cofounder of New Amsterdam Records.
Brittelle provided the following
program note for Love Letter for Arca,
commissioned by the Seattle Symphony
for this Sonic Evolution program:
Alejandro Ghersi, a.k.a. Arca, is a
Venezuelan record producer, consultant,
mixing engineer and DJ. He is perhaps
best known for his work with Kanye West
(Yeezus) and Bjork (Vulnicura), but I’ve
been particularly drawn to his first two
full-length releases: Xen and Mutant.
The first time I heard his music, it was via
my phone, while driving. Upon reaching
my destination, I sat for another 45
minutes listening, until my phone battery
had completely drained. I immediately
felt a deep kinship with his music
and its extremes: ugly and beautiful,
frightening and timid, noise and melody,
all co-existing in some kind of futuristic
(but very human) soundscape. Arca
seems to have moved past our collective
tendencies of binary conceptions like
male/female and noise/music. Although
the techniques he uses to create music
are different than mine, the end result, I
hope, shares a kindred spirit.
Love Letter for Arca is not so much an
integration of his music as an homage to
his work. Arca has given me the courage
to explore even more extreme levels
of dynamic contrasts, to invite more
beauty and more terror into my work, all
while searching for those moments of
poignancy that emerge from the constant
ebb and flow of dark and light. In this
by Aaron Grad
way, through his influence, my music has
become more honest, more inclusive and
more reflective of my human existence.
The piece itself is composed in three short
movements, each with a few basic melodic
or rhythmic ideas that are developed and
dissected. However, in this piece, these
recognizable fragments are juxtaposed
against an onslaught of other contrasting
ideas, with the result being a collagebased texture. My hope is that the pacing
and language, though different from
traditional orchestral music, feels reflective
of modern life and carries with it its own
inherent logic and form. The piece features
a prominent synthesizer part that switches
sounds quickly throughout and two
electronic sample pads in the percussion
section that trigger additional electronic
sounds. All the music is created in real
time, under the direction of conductor;
there is no click or pre-recorded material.
– William Brittelle
Michael Gordon (b. 1956), along with
fellow Yale alumni David Lang and Julia
Wolfe, revolutionized the New York music
scene in 1987 with the creation of Bang on
a Can. What started as a 12-hour marathon
for neglected new music grew into a
groundbreaking model for presenting their
own works and those of other composers
outside the academic mainstream.
Besides the ongoing annual marathon,
they launched the Bang on a Can AllStars (a hybrid between a rock band and
a classical chamber ensemble) and a
summer festival to nurture young talent.
Gordon, Lang and Wolfe also founded Red
Poppy Music to publish their compositions,
and they launched their own record label,
Cantaloupe Music, which released John
Luther Adams’ Pulitzer- and Grammywinning Become Ocean, recorded by
the Seattle Symphony with Ludovic
Morlot. Over three decades, Gordon
and his cohort have demonstrated that
a collaborative, do-it-yourself approach
can sustain music careers at the highest
level, inspiring new generations of indie
composers in New York and beyond.
In his own personal projects, Gordon’s
fascination with the intersection of film
and music has spawned a rich, ongoing
collaboration with the filmmaker Bill
Morrison. Starting with Decasia in 2001,
they developed a style that combined
Morrison’s artful manipulations of old,
deteriorating film reels with Gordon’s
haunting, hypnotic music. They teamed
up again for three large-scale symphonies
inspired by cities: Gotham (2004, based
on New York), Dystopia (2008, based on
Los Angeles) and El Sol Caliente (2015,
based on Miami Beach). Now, Gordon
and Morrison have partnered on a piano
concerto with Seattle ties.
The Unchanging Sea takes its title and
visual source material from a short film of
the same name from 1910 by D.W. Griffith,
the influential director who shaped the
American film industry in its early days. (The
first director to film in Hollywood, Griffith
was most infamous for his controversial
feature from 1915, The Birth of a Nation.)
Griffith modeled his film after an 1851 ballad,
Three Fishers, in which the English poet
Charles Kingsley described the grueling
life of men who go off to fish and the
women and children left behind in the
village. The poem’s setting was England,
and Griffith’s film was shot in California, but
the sentiments concerning life in a fishing
village are equally relevant for Seattle
around the turn of the 20th century. To
further anchor the Seattle connection,
Morrison’s film also includes footage shot
locally in 1897, when the S.S. Willamette
sailed out of Puget Sound loaded with 800
passengers and 300 horses headed for the
Klondike, at the height of the Gold Rush.
As Gordon instructed in the score, the
music of The Unchanging Sea moves
“in moody and sometimes turbulent
waves, always magnifying the piano.”
Those waves swell in volume from
barely audible pianissimo (pp) to piercing
fortissimo (ff), the churning rhythms melting
together in competing and overlapping
pulses. At first only the woodwinds
accompany the piano, imparting an airy,
outdoor color, until gradually the orchestral
palette fills in with low strings, brass,
percussion and upper strings. The clanging
metal of the percussion (including tuned
cowbells, gongs and flexatones) reinforces
the percussive treatment of the piano, in
which the soloist mutes some sounds by
touching the strings. As the musical material
morphs inexorably, pulses turn into trills,
the piano issues ever-longer segments of
rapidly rising fragments, and the textures
thicken to a stuttering cacophony.
SEATTLE
CHAMBER
MUSIC
SOCIETY
JAMES EHNES
Artistic Director
SUMMER FESTIVAL
JULY 5-30, 2016
ILLSLEY BALL NORDSTROM RECITAL HALL at Benaroya Hall
BOX OFFICE
206.283.8808 // seattlechambermusic.org
Tickets
start at
$16
© 2016 Aaron Grad
PA B LO R U S
B R O S E TA
TO M O KO
M U K A I YA M A
Conductor
Piano
Following the highly
successful opening
concert of last year’s
Festival Musica in
Strasbourg, where
Pablo Rus Broseta
conducted the SWR
Symphony Orchestra in
Photo: Nina Reinsdorf
joint performances with
the Ensemble Modern,
the young Spanish conductor became
known to a wider international audience. In
the spring of 2015 he made his successful
debuts with the WDR Symphony Orchestra
Cologne, the BBC Symphony Orchestra
and the Orquesta Sinfónica de Radio
Televisión Española. In the autumn of 2015
he began his position as Assistant
Conductor of the Seattle Symphony and
has been promoted to Associate
Conductor for the 2016–2017 season.
Pablo Rus Broseta studied composition
and saxophone at the Conservatory of his
native Valencia, carrying out further studies
in conducting in Lyon, and at the
Conservatorium van Amsterdam and
Universität der Künste Berlin.
FORTE: Tomoko
Mukaiyama is a DutchJapanese pianist,
performer and visual
artist based in
Amsterdam. She
studied piano in Tokyo,
Indiana and
Photo: Takashi Kawashima
Amsterdam, after
which she made her
concert debut in 1990. A year later she
won the prestigious Dutch Gaudeamus
competition. As a pianist, Mukaiyama is
praised for her vivid interpretations of
historical as well as modern compositions.
Many prestigious orchestras and
ensembles throughout the world have
featured her, including the Ensemble
Modern in Frankfurt, the London
Sinfonietta, the Ensemble
Intercontemporain and the Royal
Concertgebouw Orchestra. Mukaiyama’s
unique approach to the piano has inspired
many composers, such as Louis
Andriessen and Alexander Raskatov, to
write new works for her.
Mukaiyama
pushes on the boundaries of the classical
music world. As a pianist and visual artist
she has a fascination for unconventional
contemporary art projects and plays with
the conventions around her instrument,
her profession and performance in a
broader sense. She uses her experience
as a concert pianist to give a new
dimension to the concert space, as well as
to performance and installation art.
A DIFFERENT APPROACH:
“I am so proud to
be a part of Sonic Evolution! I have
always dreamed of working with an
orchestra that creates bridges between
different artists. The Seattle Symphony
is a fine example to all the orchestras in
the world because of the way they bring
different people together.”
FROM THE ARTIST:
“I
am quite familiar with the contemporary
music in Europe, working regularly with
Ensemble Modern Frankfurt, Ensemble
Intercontemporain and the German
Radio Orchestras. I have always enjoyed
working with different composers and
discovering new great music. I am looking
forward to meeting and working with
Michael Gordon, William Brittelle and
Fly Moon Royalty, and to exploring the
American new music scene.”
24
SEATTLESYMPHONY.ORG
Mukaiyama
develops art installations and performing
arts projects that combine music with
contemporary dance, fashion and visual
art. She has collaborated with film
directors, designers, architects, dancers
and photographers, such as Marina
Abramovic, MERZBOW, Jiří Kylián and
Michael Gordon. Among Mukaiyama’s
stages are the Royal Concertgebouw,
Sydney Opera House and the Yokohama
Triennale. The core of her work is
communicating with the audience. She
creates a wide variety of projects in
different kinds of spaces, always striving
to present her art projects in a specific
and communicative form, moving between
performing in more prestigious venues
and creating musical experiences for the
intimacy of one.
A MULTIMODAL ARTIST:
F LY M O O N R OYA LT Y
The audacious Miss Adra Boo and funkwizard DJ/Producer/Emcee Action J are
set to satisfy with sophomore album
Delicious Trouble, released April 22, 2016.
The aptly tantalizing title of Fly Moon
Royalty’s long-awaited new full-length
follows up their 2014 EP Unfinished
Business and shows how the Seattlebased electro-soul duo has been
captivating audiences live. They then hit
the studio for layering a scrumptious bed
of sound around Miss Boo’s sizzling sirenlike vocals, in strong songs ready to
seduce the world.
Seattle
Magazine named the electric
pair as one of the city’s Best New Bands,
and City Arts Magazine voted them
as the city’s Best Local Band in 2012.
They debuted at #5 on KEXP’s R&B
charts, and the band has supported the
likes of Sharon Jones & the Dap Kings,
Macklemore, Slum Village, Robert Glasper,
Nneka and Allen Stone.
“We are both honored
and excited to have our music performed
alongside the Seattle Symphony. What an
experience to hear our music come alive
in this way. As a vocalist, I’m excited to
have a bigger ship to glide on, you know?
And for as many feeling as we put into
our writing, into our sound, to have it
heard in such a dynamic way... I am going
to do my hardest not to become an
emotional mess!”
FROM ADRA BOO:
“I feel extremely honored
to have been selected to take part in
such an amazing program. As the music
producer of the band I’m overwhelmed
with excitement. To work with such skilled
composers on my humble arrangements
is such a surreal experience for me.
Listening to the arrangements Bill, Ryan
and Elliot created gave me chills just
imagining how intense it will feel to hear
this live. It’s intimidating even.”
FROM ACTION J:
A M ESSAGE F R OM
MICHAEL
ALLEN HARRISON
TEN GRANDS
Creative Director and Founder,
Ten Grands
The Ten Grands pianists are Michael Allen Harrison (Creative Director and Founder,
Ten Grands), Colleen Adent, Yelena Balabanova, Shannon Cassady, Tom Grant,
Kelsey Lee Keogh, Alexander Lu, Mac Potts, Hailey Rowden (Potts) and Stanley
Yerlow, with Community Guest Artist Nader Kabbani.
Twinkle Twinkle Ten Ways
TEN PIANOS
Solo
COLLEEN ADENT, PIANO
Solo
KELSEY LEE KEOGH, PIANO
SISTER CAY, CELLO
SoloYELENA BALABANOVA, PIANO
Solo
ALEXANDER LU, PIANO
Solo
STANLEY YERLOW, PIANO
Solo
SHANNON CASSADY, PIANO
“Calling on Angels”
MICHAEL ALLEN HARRISON, PIANO
HALEY JOHNSEN, VOCALS
YOUTH STRING SECTION
Ragtime Boogie
TEN PIANOS
INTERMISSION
Hedwig’s Theme from
Harry Potter
/arr. Cayla Bleoaja
WMEA STUDENTS
Solo
HAILEY ROWDEN (POTTS), PIANO
Starry Night TEN PIANOS
Solo
MAC POTTS, PIANO
Eight Hands
COLLEEN ADENT, PIANO
MATTHIEU GALIZIA, PIANO
TREVOR NATIUK, PIANO
RALEY SCHWEINFURTH, PIANO
Solo
TOM GRANT, PIANO
Rondo alla Turca
NADER KABBANI, PIANO &
COMMUNITY GUEST ARTIST
Simon & Garfunkel Medley
TEN PIANOS
JULIANNE JOHNSON WEISS, VOCALS
Sponsored by Classic Pianos, Neiman Marcus, RBC Wealth Management, Yamaha
Music education is
one of the most powerful
learning experiences
we can offer our children.
With its ability to provide
a sense of joy and
healing, music should
be accessible to all
children. Schools and
other community programs that provide
music and performing arts education face
growing budget constraints; many have
been forced to cut programs entirely. The
Seattle Symphony is working to change this
by giving children in our community access
to a wide variety of musical arts. With your
help, support and direct donations we can
achieve our goal of giving every child the
opportunity to learn through music and
continue to make a difference.
A M ESSAGE F R OM
K AT H Y FA H L M A N
D E WA LT
Executive Director and Co-Founder,
Ten Grands Seattle; Seattle Symphony
Board Member
Thank you for supporting
Ten Grands, a catalyst for
bringing the gift of music
to over 60,000 children
annually in communities
throughout our state.
We are grateful to all of
the musicians, audience
members, donors and
sponsors who have helped us build the
Ten Grands dream in Seattle. It would not
have become a reality without their support.
A heartfelt thanks to RBC Wealth
Management, Alliance Communications,
Classic Pianos, Crimson Winery, Dream Box,
Mayflower Park Hotel, Neiman Marcus,
Yamaha, Ten Grands Committee, our
Ambassadors, music teachers, Rotary and
Kiwanis groups, and the Seattle Symphony
staff. Michael Allen Harrison, Steve Dewalt
and I (Co-Founders of Ten Grands Seattle) are
thrilled to partner with the Seattle Symphony
and to take music education opportunities for
our region’s children to an exciting new level.
We have only just begun!
“Music gives a soul to the universe, wings
to the mind, flight to the imagination and
life to everything” — Plato
The
Yamaha Corporation
of America,
L. Bösendorfer
Klavierfabrik,
and
Classic Pianos
of Bellevue
are proud
supporters of
Ten Grands
Seattle.
COLLEEN ADENT
S H A N N O N C A S S A DY
Piano
Piano
Colleen Adent is a
classically trained,
improvisationally
minded pianist. As one
of the Pacific
Northwest’s
accomplished pianists,
the uniqueness of
Adent’s artistry lies in
her ability to improvise as well as perform
as a classical musician. Although these
two disciplines are often viewed as two
separate worlds, Adent lives comfortably
in both places, embracing the strengths of
each musical world to create a fresh,
dynamic, engaging listening experience.
Whether playing solo or collaboratively,
sacred or secular, from the concert hall to
an intimate home setting, Adent’s warm
personality and skillful playing naturally
invite the listener to join her in embracing
the moment!
YELENA
B A L A B A N OVA
Piano
Yelena Balabanova, a
native of Moscow,
Russia, is one of only
six Steinway Classical
Artists in our state.
Among her many
credentials, she holds
a Doctor of Musical
Arts degree and is a
sought-after clinician on healthy technique,
artistry, and performance practice.
Balabanova is an acclaimed soloist and is
widely recognized for her extensive
repertoire, original interpretations and
innovative programs. Her solo
performances were named to the list of
Top Ten Events to See in Bellevue and
Seattle in 2013 and 2014. Balabanova’s
new solo CD, The Great Romantics,
featuring her live performances of music
by Chopin, Brahms, Rachmaninov and
Scriabin, was launched in December 2015
and is available now.
This is Shannon
Cassady’s second year
with Ten Grands. A
student of Dr. Sasha
Starcevich, Cassady
was one of the seven
National Finalists in the
2012 Music Teachers
National Association
(MTNA) Junior Piano competition held in
New York City. Most recently in 2014, she
became the MTNA Senior Division Alternate
winner for Washington State. Other awards
include top prizes in the Northwest Chopin
and Eastside Music Teachers Association
(EMTA) Scholarship Competitions for
multiple years, including achieving the
highest honor in EMTA competition in 2011.
Cassady has also performed twice with
international orchestras during the Music
Fest Perugia held in Italy.
TO M G R A N T
Piano
Tom Grant, master
instrumentalist, talented
singer and natural
entertainer nimbly walks
the line between jazz
tradition and modern
pop. This soft-spoken
Oregon native’s inspired
songwriting produces
propulsive R&B grooves, infectious melodic
hooks and stylish ballads with equal ease.
He plays jazz piano with the harmonic
sophistication and deep sense of swing that
only comes from more than four decades
on the bandstand. As one of the Pacific
Northwest’s most renowned musical artist,
Tom Grant’s career achievements reflect his
unique ability to embrace the full spectrum
of contemporary music. Tom Grant is proud
to be a Yamaha Artist.
MICHAEL ALLEN
HARRISON
Piano
Michael Allen Harrison
delivers music to the
heart. His classical
contemporary style
carves a distinct niche
of timeless music that
has connected with
thousands throughout
26
SEATTLESYMPHONY.ORG
his three-decade career. Harrison is an
American composer, songwriter and
pianist from Portland, Oregon. As an iconic
artist, he is known for his magical piano
solo performances and recordings, his
upbeat sound with his band, his work with
inspiring vocalist Julianne Johnson, his
skills producing and creating music for
ballet, theater and film, his love for
teaching and for his giving spirit. Harrison
is the founder and president of the
Snowman Foundation, the Ten Grands
concert series, and the beloved Christmas
at the Old Church concert series,
approaching its 25th season. He has
created over fifty albums released through
MAH Records.
NADER KABBANI
Piano & Community Guest Artist
Nader Kabbani is the
Vice President of
Amazon’s Worldwide
Transportation
business and a Seattle
Symphony Board
member. He has been
at Amazon for 11 years.
Prior to this role,
Kabbani and his team built Kindle Direct
Publishing (KDP) which enables authors
and publishers worldwide self-publish their
books in digital and print-on-demand and
earn a living. Before joining Amazon,
Kabbani spent ten years with Sabre Inc. as
a Vice President of Europe, Africa and the
Middle East and as the Worldwide Vice
President of Sabre’s Airline Solutions.
Kabbani holds an M.S. degree in Industrial
Engineering & Operations Research and a
B.S. degree in Electrical Engineering, both
from Texas A&M University. Kabbani is an
avid traveler and classical piano player. He
is passionate about Bach, Mozart and
Beethoven’s piano music.
KELSEY LEE KEOGH
Piano
Kelsey Lee Keogh has
performed
professionally since
her early teens as a
soloist and
collaborative artist.
She delivers a rare but
equal portion of
energy, grace and
poise to the piano and vocals. Her voice
is smooth, sultry, unassuming and
memorable. As a pianist, she brings
striking texture to her playing. Though
trained as a classical musician, her
improvisational style integrates elements
of New Age, Gospel, Jazz, Celtic and
Pop. Her joy is to share music which
uplifts the soul and facilitates a sweet
ambiance. Keogh is a senior at University
of Washington, and will be graduating in
June 2016.
of Reggie Houston. Harmonica, vocals and
other keyboards would soon be added to
the list of instruments Mac could play at a
professional level.
H A I L E Y R OW D E N
( P OT T S )
Piano
A L E X A N D E R LU
Piano
Alexander Lu is a
sophomore at the
International
Community School in
Kirkland and studies
piano with Dr. Sasha
Starcevich. Lu was the
Grand Prize winner of
the inaugural “King FM
Ten Grands Young Artist Award”
competition and has been featured in the
2010, 2011 and 2014 Ten Grands concerts.
He was a Gold Medalist of Seattle
International Piano Competition, a First
Prize and “Judges Distinction” award
winner of American Protégé International
competition, winners of Seattle Young
Artist Music Festival and Seattle
Symphony Young Artist Auditions. He has
appeared in performances at New York’s
Carnegie Hall, in Seattle Chamber Music
Festival’s Emerging Artist Series, King FM’s
Northwest Focus Live, KING 5’s New Day
Northwest and has spent two summers in
Italy studying and performing in the Music
Fest Perugia.
M AC P OT T S
Piano
Mac Potts was born
blind, and began
playing piano at about
two. His parents found
him a Suzuki teacher a
few years later, and he
took lessons using that
method for ten years
with the help of two
teachers. Shortly before ending the Suzuki
training, Potts was being coached by
multiple people in the art of jazz, blues
and gospel. His primary instructors were
D.K. Stewart and Janice Scroggins. He
also was a skilled drummer and was
learning the saxophone in the Kalama
Middle School band. Potts eventually took
his sax skills to New Orleans with the help
After discovering a talent
for music in a Salvation
Army program, Portland
native Hailey Rowden
was given a scholarship
from the Snowman
Foundation to study with
pianist and composer
Michael Allen Harrison.
Classically trained under his guidance,
Rowden quickly began to master works by
such composers as Chopin and Beethoven
with a grace beyond her 12 years of age.
Despite her youth and timid personality,
Rowden soon became a favorite
philanthropic performer and piano teacher
around the Portland metro area. An avid
advocate for the arts in her community,
Rowden’s passion for music education has
led her to give speeches and concerts for
local fundraisers, schools, programs and
organizations — to preach exactly what she
practices: “Playing It Forward.”
S TA N L E Y Y E R LO W
Piano
Following concerts in
Budapest and Zagreb,
Croatia, the Novi
Vjesnik newspaper
wrote, “He gave a fully
artistic performance with
such profound pleasure
that he was able to
bond greatly with the
audience.” Labeled “Truly spectacular” in
the Athens Daily News, and “Refreshingly
different from other performers” in the
Savannah Evening Press, Stanley Yerlow
plays with an exceptionally big sound and
plenty of excitement. A Steinway Artist,
Yerlow has made frequent appearances on
the popular daytime TV programs Live with
Regis and Kathie Lee and Live with Regis
and Kelly. Through these appearances,
Yerlow has become known to millions of
viewers as Regis Philbin’s music director.
Teaming up with Regis Philbin, Yerlow
directs a 22 piece orchestra their sold
out concerts throughout the United States
and Canada.
SEATTLE POPS SERIES
TITLE SPONSOR
Sunday, May 22, 2016, at 2pm
SCI-FI AT THE POPS
S E AT T LE POPS S ER I ES Ti t l e Sponsor
Jeff Tyzik, conductor
Seattle Symphony
JERRY GOLDSMITH
End Credits from Star Trek: First Contact6’
ALEXANDER COURAGE
Main Theme from Star Trek4’
JOHN WILLIAMS
March from Superman4’
DANNY ELFMAN
Main Title from Batman4’
JOHN WILLIAMS
Harry’s Wondrous World from Harry Potter 8’
and the Sorcerer’s Stone
JOHN WILLIAMS
Theme from Jurassic Park6’
JOHN WILLIAMS
Adventures on Earth from 10’
E.T. The Extra-Terrestrial
INTERMISSION
RICHARD STRAUSS
“Sunrise Fanfare” from Also sprach Zarathustra, 2’
Op. 30
JOHANN STRAUSS, JR.
On the Beautiful Blue Danube, Op. 314
JOHN WILLIAMS
Duel of the Fates from Star Wars 4’
Episode I: The Phantom Menace
MICHAEL GIACCHINO
Star Trek: Into Darkness Suite 7’
GUSTAV HOLST
Mars, the Bringer of War from The Planets, Op. 32
6’
5’
JOHN WILLIAMS
Star Wars15’
Imperial March
Princess Leia’s Theme
Main Title
Seattle Pops series Title Sponsor: MCM
Media Sponsors: Classical KING FM 98.1 and KCTS 9
28
SEATTLESYMPHONY.ORG
THE
SEATTLE SYMPHONY
THANKS MCM
FOR MAKING
THE SEATTLE POPS
SERIES POSSIBLE.
JEFF TYZIK
Conductor
Grammy Award winner
Jeff Tyzik is one of
America’s most
innovative and sought
after pops conductors.
Tyzik is recognized for
his brilliant
arrangements, original
Photo: Sean Turi
programming and
engaging rapport with
audiences of all ages. Tyzik holds The Dot
and Paul Mason Principal Pops
Conductor’s Podium at the Dallas
Symphony Orchestra and also serves as
Principal Pops Conductor of the Seattle
Symphony, the Detroit Symphony, the
Oregon Symphony and The Florida
Orchestra. This season, Tyzik will
celebrate his 23rd season as Principal
Pops Conductor of the Rochester
Philharmonic Orchestra (RPO).
invited as a guest conductor,
Tyzik has appeared with the Boston Pops,
Cincinnati Pops, Milwaukee Symphony,
Pittsburgh Symphony, Toronto Symphony,
Indianapolis Symphony, Philadelphia
Orchestra, Los Angeles Philharmonic and
the Royal Scottish National Orchestra.
In May 2007, the Harmonia Mundi label
released his recording of works by
Gershwin with pianist Jon Nakamatsu and
the RPO which stayed in the Top 10 on
the Billboard classical chart for over three
months. Alex Ross of The New Yorker,
called it “one of the snappiest Gershwin
discs in years.”
Only at
Mirabella Seattle
Frequently
“Some of the best
film scores of the 20th century were
composed for sci-fi and fantasy films. On
this concert we feature music of some of
Hollywood’s best composers for this genre
including John Williams, Jerry Goldsmith,
Danny Elfman and Alexander Courage. We
also salute classical composers including
Johann Strauss and Richard Strauss,
whose music was used in the sci-fi classic
2001, A Space Odyssey. Let The “Musical”
Force Be With You.”
FROM THE ARTIST:
Living here means being surrounded by the best the
city has to offer. Dine at a nearby restaurant, cruise
Pike Place Market, catch a show at one of the city’s
many arts venues, or simply take part in Mirabella’s
busy activities calendar. No matter what you choose,
you’ll experience vibrant urban living at its finest.
Call today for a tour and find out how
you can retire in the middle of it all.
(206) 254-1441
retirement.org/mirabellaseattle
116 Fairview Avenue North
Seattle, WA 98109
Mirabella Seattle is a Pacific Retirement Services Community. Equal Housing Opportunity.
Thursday, June 2, 2016, at 7:30pm
Saturday, June 4, 2016, at 8pm
SHOSTAKOVICH
SYMPHONY NO. 4
Foster Pepper
is proud to
support the
Northwest Boychoir
Men of the Seattle Symphony Chorale
Seattle Symphony
SEATTLE
SYMPHONY
IGOR STRAVINSKY Symphony of Psalms (1948 revision) 21’
Psalm 38, verses 13 and 14
Psalm 39, verses 2, 3 and 4
Psalm 150
NORTHWEST BOYCHOIR
MEN OF THE SEATTLE SYMPHONY CHORALE
INTERMISSION
DMITRI SHOSTAKOVICH Symphony No. 4 in C major, Op. 43 Allegretto poco moderato—Presto
Moderato con moto
Largo—Allegro
Ask the Artist on Thursday, June 2, in the Samuel & Althea Stroum Grand Lobby
following the concert.
Guests: Ludovic Morlot and Joseph Crnko. Moderator: Simon Woods
This concert is underwritten by Dr. Susan Detweiler in loving memory of her husband,
Dr. Alexander Clowes.
Thursday, June 2 performance sponsored by Foster Pepper.
30
SEATTLESYMPHONY.ORG
65’
and its mission to
unleash the power of
music, bring people
together and lift the
human spirit.
We hope you enjoy
Shostakovich
Symphony No.4
PROGRAM NOTES
Russian Composers
Abroad and at Home
Igor Stravinsky and Dmitri
Shostakovich were the foremost
Russian composers — indeed, among
the foremost composers of any
country — active during the middle
decades of the last century. Apart from
their artistic stature and their shared
nationality, however, Stravinsky and
Shostakovich seem in many respects
more dissimilar than alike.
The older by a quarter-century,
Stravinsky began his career in Saint
Petersburg, the capital of Czarist
Russia. In his mid-30s, he left for
France and, following the Revolution
of 1917, became one of the many
exiled from his native land. Eventually
he settled in the United States but
continued to travel widely, developing
a highly cosmopolitan personality
and outlook. Although he made a
homecoming visit of sorts to the Soviet
Union, in 1962, he remained implacably
opposed to the Communist regime.
Like Stravinsky, Shostakovich grew up
in Saint Petersburg. Unlike his older
colleague, he witnessed the tumultuous
events of the Revolution in that city
and, apart from a few brief visits
abroad, remained in Russia all his life.
There is little doubt that Shostakovich
initially supported the Revolution and
the Soviet vision of a new society.
But as the ideals of the Revolution
metamorphosed into a very different
reality, Shostakovich’s relationship
with his government grew increasingly
strained. Among other things, that
strain delayed by a quarter-century the
premiere of his Fourth Symphony.
The two works we hear this evening
date from the 1930s. Symphony of
Psalms reflects both the religious faith
that became increasingly important
to Stravinsky as he matured and the
composer’s turn to music and poetics
of distant centuries as models and
inspiration. By contrast, Shostakovich’s
Fourth Symphony is the work of a still
young composer intent on pushing the
boundaries of symphonic music.
by Paul Schiavo
I G O R S T R AV I N S K Y
Symphony of Psalms (1948 revision)
BORN:
June 17, 1882, in Oranienbaum, Russia
DIED:
April 6, 1971, in New York
WORK COMPOSED:
1930
WORLD PREMIERE:
December 13, 1930, in
Brussels. Ernest Ansermet conducted the
Société Philharmonique de Bruxelles orchestra
and chorus.
Stravinsky was, among many other
things, one of the 20th century’s
outstanding composers of religiously
inspired music. His stature as such
rests in no small part on his Symphony
of Psalms. Stravinsky wrote this
work in 1930 to commemorate the
50th anniversary of the Boston
Symphony Orchestra. For this occasion
the composer wanted to write a
symphony, but not the traditional
kind. As he explained in his 1936
autobiography: “My idea was that
my symphony should be a work with
great contrapuntal development, and
for that it was necessary to increase
the media at my disposal. I finally
decided on a choral and instrumental
ensemble in which the two elements
should be on an equal footing ... .”
Having settled on a symphony with
voices, Stravinsky came “quite naturally,”
as he described it, to the psalms for its
texts. He started setting verses from
three of them in Slavonic translations but
soon came to favor the sound of Latin.
The completed work was performed in
Boston, in December 1930, six days after
receiving its premiere, in Brussels. The
1948 revision of Symphony of Psalms,
now the standard version of the work, is
not significantly different from the original.
In scoring his music, Stravinsky
de-emphasized the role of the string
choir in favor of winds and percussion.
Violins and violas are absent entirely
from his orchestra, while the cello
and bass parts are largely limited to
accompaniment figures that support
more conspicuous foreground events.
This instrumental deployment affects
not just the composition’s spectrum
of aural colors but also its rhetorical
character. The music conveys an
austerity and remote grandeur to which
the traditionally warm and intimate tone
of violins and violas is unsuited. It is
notable, in view of this, that Stravinsky
deplored what he called the “lyricosentimental” view of the psalms,
describing them instead as “magisterial
verses.”
Stravinsky composed the first movement,
he remembered, “in a state of religious
and musical ebullience.” In writing the
second movement, he evidently was
inspired by the great chorus-withorchestra numbers in J. S. Bach’s
sacred works. The “Kyrie” of Bach’s
B minor Mass may not have been
Stravinsky’s formal model, but the two
movements have a certain kinship of
sound and spirit.
The closing lines of this second
movement call for “a new song,” and
we get just that with the intoning of
“Alleluia” at the start of the finale. Here
a restrained character and circling
repetition of limited melodic material
impart a liturgical quality. This forms
a preface to the main portion of the
movement, which unfolds in a quicker
tempo.
The initial
movement begins with an incisive
chord that returns periodically to
punctuate both the running instrumental
lines of the opening measures and the
chant-like entreaties of the chorus that
follow. The second movement treats two
themes in echoic counterpoint, the first
given out by the orchestra, the other, by
the chorus. These two themes, and their
contrapuntal elaboration, intersect to
create music of considerable complexity,
but also considerable expressiveness.
WHAT TO LISTEN FOR:
Stravinsky described the slow
introduction to the third movement as
“a prayer to the Russian image of the
infant Christ with orb and scepter.” (This
material recurs at several important
junctures.) The faster music that follows,
the composer said, “was inspired by
a vision of Elijah’s chariot climbing
the Heavens; never before had I
written anything quite so literal as the
triplets for horns and piano to suggest
the horses and chariot.” Stravinsky
finally returns to the music of the
introduction, extending it in a passage
PROGRAM NOTES
of great stillness and concluding
the movement much as it began.
Scored for 5 flutes (the fifth doubling
piccolo), 4 oboes, English horn, 3
bassoons and contrabassoon; 4 horns,
piccolo trumpet, 4 trumpets, 3 trombones
and tuba; timpani, percussion, 2 pianos
and harp; cellos and basses; four-part
chorus.
DMITRI
S H O S TA KOV I C H
Symphony No. 4 in C major, Op. 43
BORN:
DIED:
September 25, 1906, in Saint Petersburg
August 9, 1975, in Moscow
WORK COMPOSED:
1935–36
WORLD PREMIERE:
December 30, 1961,
in Moscow. Kirill Kondrashin conducted the
Moscow Philharmonic Orchestra.
The genesis of Shostakovich’s Fourth
Symphony coincided with the first great
crisis of its author’s career: a public
attack on his music by the Communist
Party. During the 1930s, as Stalin’s
regime grew increasingly repressive,
the arbiters of aesthetic taste within the
Party decided that only accessible and
uplifting art was fit for a socialist society.
Any but the mildest sort of modernism
came to be branded “formalism,” a
code word that composers and other
artists learned to dread; works that
addressed the seamier aspects of
human affairs were signs of “bourgeois
decadence.” On January 28, 1936,
Shostakovich’s opera Lady Macbeth of
the Mtsensk District, a sharp satire that
had enjoyed considerable success, was
excoriated in the pages of Pravda, the
official Communist Party newspaper,
as “a confused stream of sounds,”
“cacophony” and “musical chaos.” One
week later, a second Pravda review
condemned Shostakovich’s ballet
The Limpid Stream in similar terms. Shostakovich was, at this time, writing
a new symphony, a large-scale
composition using all the resources of
the modern orchestra. After the Pravda
attacks, he retreated from public view to
finish his symphony, a task he completed
in a few months. A performance
32
SEATTLESYMPHONY.ORG
continued
by the Leningrad Philharmonic was
scheduled for December. Here the
history of the Fourth Symphony
becomes clouded. All accounts agree
that Shostakovich withdrew the work
after several rehearsals, but there are
varied explanations for why he did so.
The composer himself claimed to be
dissatisfied with the music, though
whether he really was seems far
from certain. Some persons present
at the rehearsals said the orchestra
could not cope with the demands of
the new symphony and were hostile
to its modern idiom. Others blamed
the conductor, Fritz Stiedry, for an
inability to master the score. Still
other explanations, however, suggest
that Shostakovich was pressured to
withdraw his symphony for fear of
further antagonizing Party authorities.
(Some of these conflicting reports
can be found in Elizabeth Wilson’s
important collection of reminiscences
Shostakovich: A Life Remembered,
Princeton University Press, 1994).
If Shostakovich did withdraw the new
symphony for that reason, the move
probably was well-advised. With
its apparent caricatures of martial
grandiosity, its somber episodes
and anguished cries of protest, the
music hardly could be perceived as
wholesome fare for the edification of
the masses. Shostakovich rehabilitated
himself and his career in November 1937,
presenting his triumphal Fifth Symphony
as “a Soviet artist’s creative reply to
just criticism.” The Fourth Symphony
had to wait until the end of 1961, when
the relatively moderate political climate
of the post-Stalin “thaw” finally made
a public performance feasible.
Many commentators have proposed
Shostakovich the symphonist as the
modernist heir of Gustav Mahler.
Nowhere is the affinity between the
Soviet composer and his Austrian
predecessor more clear than with
the Fourth Symphony. The work’s
expansive scale and large orchestra,
its sometimes unusual combinations of
instrumental color, its juxtaposition of
massive sonorities on one hand and
chamber-music textures on the other,
its episodes of “nature music” (with
bird calls and woodland rustling), and
its parodies of marches and waltzes
all create a palpable connection
with Mahler’s symphonic world.
The first of the composition’s three
movements unfolds in a series of diverse
episodes whose succession often defies
expectation. At one point, for example,
contrapuntal treatment of a fast moto
perpetuo melody builds to a frightening
climax, then gives way, improbably, to
an ironic waltz; this, in turn, yields to
menacing horn blasts, then a delicately
scored passage featuring English horn.
And although it has exhibited great
power in its more robust passages,
the movement ends with English
horn repeating a two-note figure like
some forlorn, broken mechanism.
In contrast to the unruly profusion
of music that marked the opening
movement, the second concentrates on
just a pair of ideas, which it considers
in alternating episodes. The finale
begins with an introduction in slow
tempo before moving to the fasterpaced main body of music. Here,
Shostakovich’s fertile imagination
again produces a remarkable
array of musical developments.
Shostakovich’s
idiosyncratic use of the orchestra shows
itself from the very start of the first
movement, as three prefatory flourishes
and a brief harliquinesque line that flows
out of them both have a core of xylophone
sound, a brittle, steely spine that does
much to establish the symphony’s
character. The same instrument accents
a march-like theme, given out mainly
by the brass. Two other important ideas
follow: a lyrical subject, introduced by the
strings; and an expressive melody first
given out by solo bassoon. The episodes
that grow out of these ideas include some
remarkable coups of orchestration, not
least a little march scored for piccolo and
E-flat clarinet. We also hear cuckoo calls
reminiscent of the opening of Mahler’s
First Symphony.
WHAT TO LISTEN FOR:
The principal subject of the second
movement is a waltz-like theme, strongly
reminiscent of Mahler, given out by
the strings in the opening moments.
Shostakovich’s play with this idea includes
an exceptional passage for the woodwind
choir that becomes an airy ballet of flute,
clarinet and oboe timbres, as well as a
final recollection of the theme set against a
clockwork toccata of percussion sound.
The finale begins with an extended
introductory passage cast as a
resigned funeral march. (Shades of
Mahler again.) Beginning quietly, this
paragraph builds to a sonorous climax,
then recedes before accelerating into
the main body of the movement.
After many and varied developments,
the music reaches a huge climax led by
the brass and accompanied with great
energy by two timpanists. From here
the music fades toward silence. Over a
gentle throbbing in the low strings, horn
and flute recall the funeral march which
had the introduced movement. The last
word is left to the celesta, which repeats
a haunting little phrase against a quiet
heart-beat figure in the low strings.
Scored for 2 piccolos, 4 flutes, 4 oboes
the fourth doubling English horn), 4
clarinets, E-flat clarinet, bass clarinet, 3
bassoons and contrabassoon; 8 horns,
4 trumpets, 3 trombones and 2 tubas; 2
timpani and percussion; 2 harps, celeste
and strings.
© 2016 Paul Schiavo
T E X T S & T R A N S L AT I O N S
Stravinsky
Symphony of Psalms
Psalm 38 verses 13 and 14
Exaudi orationem meam, Domine et deprecationem meam. Auribus percipe lacrimas meas. Ne sileas.
Quoniam advena ego sum apud te et peregrinus, sicut omnes patres mei.
Remitte mihi, ut refrigerer prius quam abeam et amplius non ero.
Hear my prayer, O Lord, and with Thine ears consider
my calling: hold not Thy peace at my tears.
For I am a stranger with Thee: and a sojourner, as all my fathers were.
O spare me a little that I may recover my strength: before I go
hence and be no more seen
Psalm 39, verses 2, 3 and 4
Expectans expectavi Dominum, et intendit mihi.
Et exaudivit preces meas: et eduxit me de lacu miseriæ, et de luto fæcis.
Et statuit super petram pedes meos: et direxit gressus meos.
Et immisit in os meum canticum novum, carmen Deo nostro.
Videbunt multi, videbunt et timebunt: et sperabunt in Domino.
I waited patiently for the Lord: and He inclined unto me,
and heard my calling.
He brought me also out of the horrible pit, out of the mire and clay.
And set my feet upon the rock, and ordered my goings.
And He hath put a new song in my mouth: even a thanksgiving
unto our God.
Many shall see it and fear: and shall put their trust in the Lord.
Psalm 150
Alleluia.Halleluja.
Laudate Dominum in sanctis Ejus.
Praise God in His sanctuary.
Laudate Eum in firmamento virtutis Ejus. Praise Him in the firmament of His power.
Laudate Dominum.
Praise Him for His mighty acts:
Laudate Eum in virtutibus Ejus. Laudate Dominum in virtutibus Ejus,
Praise Him according to His excellent greatness.
Laudate Dominum in sanctis Ejus.
Praise Him with the sound of the trumpet.
Laudate Eum secundum multitudinem magnitudinis ejus. Praise Him.
Alleluia.Halleluja.
Laudate Dominum. Laudate Eum.
Praise the Lord. Praise Him.
Laudate eum in timpano et choro,
Praise Him with drums and dance.
laudate Eum in cordis et organo; Praise Him with stringed instruments and the organ;
Laudate Eum in cymbalis, benesonantibus,
Praise Him with loud cymbals,
laudate Eum in cymbalis jubilationibus. Laudate Dominum.
Praise Him with crashing cymbals. Praise the Lord
laudate Eum. Omnis spiritus laudet Dominum, Let ever thing that hath breath praise the Lord.
omnis spiritus laudet Eum.
Every spirit to praise Him
Alleluia.Halleluja.
A M E S S AG E F R O M
M U S I C D I R E C TO R
LU D OV I C M O R LOT
N O R T H W E S T B OYC H O I R
The
Northwest Boychoir’s musical
sophistication, rich tonal quality, and
dedication to exacting performance have
established its reputation as one of the
nation’s premier boychoirs. For more
than 40 years, the Northwest Boychoir,
along with Vocalpoint! Seattle, has
trained thousands of young singers, and
more significantly, shaped the lives of
our region’s youth by teaching important
lessons in personal commitment and the
value of teamwork.
“I’m
excited to perform Stravinsky’s
Symphony of Psalms with boy choir and
male choir (as opposed to regular mixed
choir) and to collaborate with Joe Crnko
yet again. We’re so spoiled in Seattle to
have the wonderful Northwest Boychoir,
and of course the men of the Seattle
Symphony Chorale.”
“Shostakovich’s
Symphony No. 4 is a
very powerful and emotional piece, and
a virtuosic display for the orchestra. Due
to political reasons, it was prevented
from being premiered for almost 30
years. When I attended a performance
of Symphony No. 4 by the Chicago
Symphony and Bernard Haitink in 2008,
it triggered in me a desire to perform
this piece. A recording of that very same
concert is now available online.”
Photo: Ben Van Houten
The
choir is led by Joseph Crnko, now in his 32nd year as music director. Its staff of
professional musicians and educators teaches a rigorous curriculum that trains young
singers, 6–18 years old, to be fully-skilled musicians. The choristers sing at the highest
professional level, read music fluently and perform in every musical setting with poise
and confidence.
Perhaps
best known in the Puget Sound region for its annual A Festival of Lessons and
Carols, the Northwest Boychoir maintains a close working relationship with the Seattle
Symphony and participates annually in the performance of great choral works. Recent
collaborations include such works as: Stravinsky’s Symphony of Psalms, Bach’s St
Matthew Passion, Orff’s Carmina burana, Britten’s War Requiem, Berlioz’ Damnation of
Faust and Mahler’s Symphony No. 3. The Northwest Boychoir was honored to join with
the Seattle Symphony to present the U.S. premiere of Colin Matthews’ Pied Piper in 2015.
Earlier
this year, the Northwest Boychoir was featured in the Seattle Symphony’s Baroque
Series, singing works by Handel, Purcell and Pergolesi with guest conductor Stephen
Cleobury. “The Boychoir, directed for the past 30 years by Joseph Crnko, has become
a beloved Northwest fixture…On Friday evening, the Boychoir responded to Cleobury’s
baton with singing of exceptional clarity and balance, imposing unity, precise diction and
a soaring lyricism that equaled the boys on the other side of the Atlantic.” – Melinda
Bargreen, The Seattle Times (March 2016)
The
Northwest Boychoir and Vocalpoint! Seattle 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. The choir frequently records for
film and videogame soundtracks. They recently performed on the soundtrack for Bad
Santa 2, set for release next fall.
Northwest Boychoir Roster
Joseph Crnko, Music Director
Ben Allwright
Tigran Avakyan
Henry Barnes
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
34
SEATTLESYMPHONY.ORG
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
Sammy Yang
Alexander Zuniga
PHOTO: BRANDON PATOC
Dear friends,
With the season in its final weeks, I reflect with gratitude on the generous
family of supporters who make each concert here a reality.
If you haven’t joined us yet, I encourage you to be more than a spectator.
By making a gift to the Orchestra, you become one of the visionary people
who bring outstanding symphonic music to this community.
I’m so proud each time I see the orchestra onstage. I invite you to
share that feeling by joining our donor family today.
Best wishes,
Simon Woods
President & CEO
Leslie Jackson Chihuly Chair
SEATTLESYMPHONY.ORG/GIVE | 206.215.4832
20 16- 2 0 1 7
S EA SO N
DANCE
Subscriptions on sale now / Single tickets on sale August 1
Jessica Lang Dance
Mark Morris Dance Group
with The Silk Road Ensemble
Step Afrika!
Shen Wei Dance Arts
La Compagnie Hervé Koubi
Les Ballets Trockadero
PIANO
Joyce Yang
Jonathan Biss
Louis Lortie
Benjamin Grosvenor
Yeﬁm Bronfman
Kirill Gerstein
WORLD MUSIC
Mariza
KODO
Dobet Gnahoré
Emel Mathlouthi
CHAMBER MUSIC
Heath Quartet
Imani Winds
JACK Quartet
Escher Quartet
Tafelmusik
Emerson String Quartet
SPECIAL EVENT
Mark O’Connor
Meany Hall on the Seattle UW Campus
206-543-4880 / meanycenter.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.
Soprano
Caitlin Anderson-Patterson
Laura Ash
Amanda Bender
Emilia Blunt
Lolly Brasseur
Bree Brotnov
Emma Crew
Erin M. Ellis
Jacquelyn Ernst
Zanne Gerrard
Emily Han
Teryl Hawk
Anne Hudson
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
Shreya Joseph
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
Lisa Wang
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
Carl Crafts
Darrel Ede
Morgan Elliott
Curtis Fonger
Steven Franz
Raphael Hadac
Kelvin Helmeid
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
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 32nd 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.
PROGRAM NOTES
Sunday, June 5, 2016, at 2pm
Contrasts and Connections
RAVEL
PIANO CONCERTO
Seattle Symphony
GABRIEL FAURÉ
Masques et Bergamasques, Op. 112
Ouverture: Allegro molto vivo
Menuet: Tempo di minuetto —
Allegretto moderato
Gavotte: Allegro vivo
Pastorale: Andantino tranquillo
15’
MAURICE RAVEL
Piano Concerto in G major
Allegramente
Adagio assai
Presto
JEAN-YVES THIBAUDET, PIANO
23’
INTERMISSION
ANTONÍN DVOŘÁK
Symphony No. 9 in E minor, Op. 95, “From the New World”
Adagio - Allegro molto
Largo
Scherzo: Molto vivace
Allegro con fuoco
Jean-Yves Thibaudet’s performances are generously underwritten by Sheila B. Noonan
and Peter M. Hartley.
Media Sponsor: Classical KING FM 98.1
38
SEATTLESYMPHONY.ORG
40’
This special concert by Seattle
Symphony and Jean-Yves Thibaudet
presents French music of the early
modern period and, following
intermission, a composition that
epitomizes the central-European
symphonic school of the 19th century.
These two very different kinds of
orchestral music would seem to
constitute a study in contrast; and
so, to a large extent, they do. Gabriel
Fauré’s Masques et Bergamasques suite
exemplifies the neo-classical impulse,
which ran strong within French music
during the early decades of the last
century, to look nostalgically back
to the 18th century and appropriate
the musical forms and demeanor
of that period. Maurice Ravel also
cultivated a neo-classical approach
to composition during the years of
World War I. Thereafter, he assimilated
the neo-classical concern for textural
clarity into a more generally modern
idiom, as we hear in his wonderfully
original Piano Concerto in G major.
By contrast, Antonín Dvor̆ák’s Ninth
Symphony is a large, full-throated
composition embodying the Romantic
penchant for powerful sonorities,
sweeping gestures and wide expressive
range on a large compositional canvas.
Aesthetically, it could hardly be more
unlike the lean, colorful modernity of
Ravel’s concerto. Yet these two works
have a surprising commonality: each
was strongly influenced by a visit to
the United States. Ravel brought from
an American sojourn a fascination
with the sound of jazz — or, at least,
the kind of symphonic jazz typified
by George Gershwin’s Rhapsody in
Blue, whose influence on Ravel’s Piano
Concerto is palpable. Dvor̆ák lived in
the United States for three years during
the 1890s, and he acknowledged
the influence of that experience by
subtitling his symphony “From the
New World.” Of course, the America
Dvor̆ák encountered had changed
radically by the time Ravel arrived,
more than three decades later, and
that change is vividly reflected in the
music we hear this afternoon.
by Paul Schiavo
G A B R I E L FAU R É
though Verlaine apparently uses it
simply to evoke music and dancing.
Masques et Bergamasques, Op. 112
BORN:
DIED:
May 12, 1845, in Pamiers, France
November 4, 1924, in Paris
WORK COMPOSED:
1919
WORLD PREMIERE (CONCERT SUITE):
November 16, 1919, in Paris. Philippe Gaubert
conducted the orchestra of the Concerts du
Conservatoire.
Although his name and work are
hardly obscure, Gabriel Fauré has long
stood in the shadows of the major
French composers active during the
late 19th and early 20th centuries. The
refinement of his music is largely to
blame for this. Not so outwardly brilliant
as Saint-Saëns nor so conspicuously
original as Debussy and Ravel, Fauré
made the mastery of a rich harmonic
pallette his chief virtue. He almost never
indulged in cliché or routine invention,
but his innovations generally do not
proclaim themselves, being instead
unpretentious and unobtrusive.
In the summer of 1918, Fauré received a
request from a theater in Monte Carlo to
write music for a one-act entertainment
combining song, dance, spoken dialogue
and pantomime. The scenario proposed
took both its title and slender story line
from the French poet Paul Verlaine. It
concerns Harlequin, Columbine and
Gilles, French versions of three traditional
characters in commedia dell’arte, the
centuries-old Italian theatrical farce. The
plot has them enjoying a holiday on
an imaginary and idyllic island when a
group of French aristocrats come ashore.
Hiding in nearby bushes, the clowns
observe a comedy unwittingly enacted
by four couples, who engage in various
flirtations and romantic dalliances.
The work’s title, Masques et
Bergamasques, also comes from
Verlaine, whose poem Claire de lune
(the inspiration for Debussy’s famous
piano piece) begins: “Your soul is
a choice landscape / Where roam
charming maskers and bergamaskers, /
Playing the lute and dancing and almost
/ Sad beneath their fanciful disguises.”
The word “bergamasques” derives from
the bergamasca, an old Italian dance,
For the theater piece, which debuted
in Monte Carlo in April of 1919, Fauré
provided eight short musical numbers. In
a letter to his wife, written just after the
premiere, Fauré described his music for
the production as being of an “evocative,
melancholy — even somewhat nostalgic
— character,” a quality that conforms
perfectly to the tone of Verlaine’s poem.
Even before completing the music
for Masques et Bergamasques, the
composer had decided that he would
work some of it into a concert suite
for orchestra. This consists of an
overture followed by three dances.
The music is modest and charming,
with a hint of wistfulness behind its
facade of gaiety (“and almost sad
beneath their fanciful disguises”).
The neo-classical
character of Masques et Bergamasques
is evident from the beginning of the
overture, which is Mozartean in its
clarity, lightness and elegance. Fauré
maintains the mock-antique air in the
next two movements, cast in the form
of 18th-century dances. First comes a
minuet, in which sophisticated harmonic
shadings and irregular phrase lengths
soften the music’s classical outlines.
Contrapuntal echoes enliven the ensuing
gavotte. Fauré works his harmonic magic
in the concluding Pastorale, which ties
the composition up by recalling, as if
in a dream, music from the overture.
WHAT TO LISTEN FOR:
M AU R I C E R AV E L
Piano Concerto in G major
BORN:
March 7, 1875, in Ciboure,
southwest France
DIED:
December 28, 1937, in Paris
WORK COMPOSED:
1929–31
WORLD PREMIERE:
January 14, 1932, in Paris.
Marguerite Long was the soloist, and the
composer conducted the Lamoureux Orchestra.
Ravel composed his G major Piano
Concerto late in his career, following
a concert tour of the United States he
undertook in 1928. That visit proved
so successful that the composer
immediately began planning for a
second one, during which he hoped
to perform a concerto of his own with
American orchestras. After returning to
his home, near Paris, Ravel began writing
such a work toward the end of 1929.
Ravel was a painstakingly slow worker,
something his meticulous attention to
every compositional detail assured.
As a result of his habitual diligence
and the necessity to complete
other projects, he did not finish the
concerto until November 1931. By
this time Ravel had abandoned his
plans for a second American tour. He
therefore presented the concerto to
his friend Marguerite Long, a wellknown French pianist, who gave the
first performance in January 1932.
Ravel took pains to distance this work
from the Romantic paradigm of the
heroic concerto, stating: “I believe that a
concerto can be gay and brilliant without
necessarily being profound or aiming
at dramatic effect.” He added that his
concerto “uses certain effects borrowed
from jazz, but only in moderation.” No
doubt Ravel’s original plan of performing
this work in the United States influenced
his decision to jazz up the music a bit.
The jazz references are especially
evident in the first movement. Still, with
its Gallic wit and iridescent orchestration,
the movement as a whole is vintage
Ravel. There follows a leisurely Adagio
that begins with a long meditation
for the piano. The finale, by contrast,
conveys a sense of raucous satire
and offers further hints of jazz.
Ravel presents
contrasting ideas in the opening
minute of the first movement: a bustling
commotion that leads to a tune, played
by trumpet, sounding almost like circus
music; and relaxed passages featuring
the piano alternating with material
reminiscent of Gershwin’s Rhapsody
in Blue, which Ravel had heard in New
York. The composer varies and develops
these ideas in remarkably ingenious
ways. Midway through the movement,
for example, both an ethereal harp solo
and a horn solo that follows it present
slow-motion renditions of a phrase
from the piano’s part of the second
WHAT TO LISTEN FOR:
PROGRAM NOTES
theme. There also is a substantial
cadenza, a solo for the featured
instrument, late in the movement.
The second movement begins with a
long passage for the piano alone. The
simplicity and modal flavor of its melody,
the slow triple-pulse meter, the lack of
dynamic contrast and the unchanging
rhythm of the chordal accompaniment
all bear an obvious resemblance to
the famous Gymnopédies of Erik Satie,
a composer Ravel had known and
admired. Later, after the orchestra has
taken up the melody, the accompanying
figurations in the piano take on a
more classical gravity. The spirit of
the circus returns in the finale, where
the piano part runs in moto perpetuo
figuration nearly from start to finish.
A N TO N Í N DVO Ř Á K
Symphony No. 9 in E minor,
Op. 95, “From the New World”
BORN:
September 8, 1841, in
Nelahozeves, Bohemia
DIED:
May 1, 1904, in Prague
WORK COMPOSED:
1893
WORLD PREMIERE:
Carnegie Hall in New
York, on December 16, 1893. The New York
Philharmonic Orchestra was conducted by
Dvořák’s friend Anton Seidl.
Antonín Dvořák was born in Bohemia,
the country we now know as the
Czech Republic, and during the 1870s
rose to prominence as his homeland’s
foremost composer. In the years that
followed, his fame spread throughout
Europe and even across the Atlantic,
where it attracted the notice of a Mrs.
Jeanette Thurber, who had established
a new conservatory of music in New
York. In 1891 she invited Dvořák to
become the director of this school. He
would be well compensated and his
duties light, leaving plenty of time for
composing. After some negotiating,
Dvořák accepted the position and, in
September 1892, sailed for America.
For much of 1892 through 1895, the
composer lived in New York and in
Iowa, where he spent a summer in a
community of Czech emigrant farmers.
40
SEATTLESYMPHONY.ORG
continued
It was during his first year in America that
Dvořák composed his Symphony No. 9,
which bears the subtitle “From the New
World.” Dvořák declared that he intended
that moniker to mean “Impressions and
greetings from the New World.” This is far
from the musical panorama of America
and American life some commentators
have heard in the piece. Moreover, the
form and developmental procedures at
work in this symphony are very much
within the mainstream of European
musical tradition. Still, Dvořák stated
that the work’s American provenance
would be obvious “to anyone who ‘had
a nose’,” and he told a correspondent: “I
do know that I would never have written
[it] ‘just so’ had I never seen America.”
This ambivalent perspective applies
the symphony’s thematic material. On
more than one occasion during his
American sojourn, Dvořák expressed
interest in African American spirituals
and Native American tribal music, and
he once alluded to the “peculiarities
of Negro and Indian music” in the
themes of this symphony. But, as he
also emphasized, there are no actual
quotations of any American music in the
“New World” Symphony. Moreover, some
of the “peculiarities” of its melodies
are also those of Czech folk song.
And so we return to Dvořák’s title,
which offers what is no doubt the most
helpful perspective on the question of
the symphony’s nationality: that it was
written by a Czech musician under
the influence of his experience of life
in the United States. To be sure, the
symphony’s form, orchestration and
much of its character is typically centralEuropean. Yet Americans can be proud
that this composition was born on
their soil, and that certain aspects of
American legend, literature and folk song
undoubtedly influenced it in ways we
cannot precisely define, yet nevertheless
strongly intuit from its music.
Dvořák precedes
the first movement with an introduction
in slow tempo. In the first movement
proper, the main theme is a robust idea
given out by horns and woodwinds. The
second movement features one of the
composer’s most famous creations, a
deeply poignant melody sung by English
horn. But the beauty of that theme
WHAT TO LISTEN FOR:
should not distract us from the strange
power of the brass chords that frame
the movement, nor from the melting
poignancy of the second subject. That
later idea presents melancholy phrases
in the woodwinds against tremolo
figures in the strings that sound like
wind rustling through tree branches
in a bleak autumn sky. We also hear a
recollection of material from earlier in
the symphony and a quietly dramatic
faltering of the music near the close.
The ensuing scherzo balances fierce
energy with a relaxed and folkloric
central episode. This third movement
also recalls themes from the opening
part of the composition, and Dvořák
extends this idea to the finale.
Here recollections from each of the
preceding movements provide, in the
concluding minutes of the symphony, a
comprehensive and exciting ending.
J E A N -Y V E S
T H I B AU D E T
“I
FORTE: Jean-Yves
Thibaudet, considered
one of the best pianists
in the world, has the rare
ability to combine poetic
musical sensibilities with
dazzling technical
prowess. His talent at
Photo: courtesy of Decca
coaxing subtle and
surprising colors and
textures from even old favorites led The
New York Times to exclaim “…every note he
fashions is a pearl…the joy, brilliance and
musicality of his performance could not be
missed.” Thibaudet, who has performed
around the world for more than 30 years
and recorded more than 50 albums, has a
depth and natural charisma that have made
him one of the most sought-after soloists by
today’s foremost orchestras, conductors and
festivals. In 2010 the Hollywood Bowl
honored Thibaudet for his musical
achievements by inducting him into its Hall
of Fame.
have a soft spot for the Fauré. I consider
him to be one of the most daring French
composers, with a very innovative harmonic
language: Masques et Bergamasques is no
exception.”
“I
remember performing the Ravel G major
concerto with Jean-Yves Thibaudet about
two years ago. It’s a joy to revisit this piece
with Jean-Yves — what a gift it is to have
him as our Artist in Residence!”
“Some
pieces never stop feeling fresh;
I’m still finding new things in Dvořák’s
Symphony No. 9. This symphony is not only
beautiful and powerful, but challenging in
many ways.”
Piano
SEATTLE SYMPHONY RESIDENCY:
Thibaudet is the Seattle Symphony’s Artist
in Residence for the 2015–2016 season.
His residency began in September when
he was Chair of the jury of the Seattle
Symphony’s first-ever Piano Competition,
and includes five concert appearances at
Benaroya Hall throughout the season.
RECORDINGS: Thibaudet’s recordings
have been nominated for two Grammy
Awards and won many prizes, including the
Schallplattenpreis, the Diapason d’Or, Choc
du Monde de la Musique, a Gramophone
Award, two ECHO Awards, and the Edison
Prize. In 2010 Thibaudet released his latest
CD, Gershwin. Thibaudet was the soloist
on the Oscar- and Golden Globe-winning
soundtrack to Atonement and the Oscarnominated Pride and Prejudice. In 2012
Thibaudet recorded the soundtrack of the
film Extremely Loud & Incredibly Close,
composed by Alexandre Desplat.
A M E S S AG E
F R O M J E A N -Y V E S
T H I B AU D E T
Jean-Yves Thibaudet‘s reflection on playing
Ravel’s Piano Concerto in G major on June
5, and Gershwin’s Concerto in F on June 9,
10 & 11 with the Seattle Symphony.
“Both the Ravel and Gershwin are pieces
I’ve been performing since I was very
young. The Ravel is the first concerto I
ever played with an orchestra, when I
was 11, and it was my choice. And then I
first played the Gershwin when I was 14,
so they’ve both been with me all my life.
With Ravel, of course, I had this amazing
connection through my teacher Lucette
Descaves, because she was a student of
Ravel’s, and she gave me direct indications
from the composer about how to the play
the pieces. So I feel as if I knew him, as if I
had lessons from him.”
“It’s incredible to play both pieces back-toback in Seattle, because they are deeply
connected. Ravel wrote the Concerto in G
major after a trip to the U.S., where he met
Gerswhin and fell in love with his music.
And Gershwin also had the utmost respect
for Ravel. It was a complete discovery for
Ravel, because at that time jazz and blues
were not well known in France, and the
concerto is full of jazz idioms.”
“Gershwin was adopted by the French
even more than by the Americans and
was a bridge between the two cultures.
As a Frenchman who has lived in the U.S.
for many years, I feel as if I have been
adopted by America, the same way that
Gershwin was adopted by France.”
Thibaudet was born in
Lyon, France, where he began his piano
studies at age five and made his first public
appearance at age seven. At twelve, he
entered the Paris Conservatory to study
with Aldo Ciccolini and Lucette Descaves,
a friend and collaborator of Ravel. At
age fifteen, he won the Premier Prix du
Conservatoire and, three years later, the
Young Concert Artists Auditions in New
York City.
BACKGROUND:
PROGRAM NOTES
Tuesday, June 7, 2016, at 7:30pm
JOHANNES
BRAHMS
String Sextet in G major, Op. 36
BRAHMS & DVOŘÁK
BORN:
C H A MBE R SER IES
DIED:
Elisa Barston, violin • Natasha Bazhanov, violin • Mae Lin, violin •
Cordula Merks, violin • Susan Gulkis Assadi, viola • Allison Farkas, viola •
Julie Whitton, viola • Efe Baltacıgil, cello • Meeka Quan DiLorenzo, cello •
Roberta Downey, cello • Jean-Yves Thibaudet, piano
JOHANNES BRAHMS String Sextet No. 2 in G major, Op. 36 Allegro non troppo
Scherzo: Allegro non troppo
Poco adagio
Poco allegro
CORDULA MERKS, VIOLIN
NATASHA BAZHANOV, VIOLIN
JULIE WHITTON, VIOLA
ALLISON FARKAS, VIOLA
MEEKA QUAN DILORENZO, CELLO
ROBERTA DOWNEY, CELLO
Musicians’ biographies may be found at seattlesymphony.org.
WORK COMPOSED:
1864
WORLD PREMIERE:
November 20, 1866,
in Zurich
39’
INTERMISSION
ANTONÍN DVOŘÁK Piano Quintet No. 2 in A major, Op. 81 Allegro, ma non tanto
Dumka: Andante con moto
Scherzo - Furiant: Molto vivace
Finale: Allegro
ELISA BARSTON, VIOLIN
MAE LIN, VIOLIN
SUSAN GULKIS ASSADI, VIOLA
EFE BALTACIGIL, CELLO
May 7, 1833, in Hamburg
April 3, 1807, in Vienna
40’
The string sextet is a format with
relatively few representatives in the
repertoire. Beyond two by Brahms there
is Tchaikovsky’s Souvenir of Florence
and Schoenberg’s early Verklaerte
Nacht. Both Tchaikovsky’s and
Schoenberg’s sextets also exist in string
orchestra arrangements. Both of Brahms’
sextets have a nearly orchestral heft
but still maintain the textural clarity of
true chamber writing. He composed his
String Sextet No. 2 in G major, Op. 36 in
1864 while visiting Clara Schumann near
Baden-Baden.
The theme that launches the first
opening Allegro non troppo creates
an air of mystery and uncertainty. A
slowly undulating alternation of two
adjacent notes courses through the
music, imparting a mysterious quality,
while the upwardly rising theme seems
to hover between two different keys
— the nominal tonic G major as well
as relatively distant E-flat major. (Such
tonal ambiguity is not unheard of in
Brahms; it also makes its mark in the
later Clarinet Quintet and even in the
opening orchestral salvo of the First
Piano Concerto). Brahms puts the
opening theme through its paces before
presenting a warm and expressive
second theme announced by the first
cello. After the music rises in emotional
intensity, Brahms ponies up a new theme
based on the letters of the first name of
Agathe von Siebold (minus the “t” and
remembering that the “h” in German
is our B-flat). He did so as a musical
expression of his love for the young
woman, but as with many a hoped-for
relationship, this one also fizzled.
42
SEATTLESYMPHONY.ORG
The work’s Scherzo: Allegro non
troppo comes next. Cast in G minor,
the prevailing mood veers between
melancholy and understated humor.
by Steven Lowe
The upper strings float the primary
melody over a plucked figure in the
lower strings. Brahms adds a sequence
of triplets softly articulated by the first
violin and first viola before transferring
the triplets to the first cello where it
functions to accompany the original
melody — now inverted and syncopated.
The central Trio makes a heady jaunt into
the countryside, stomping onward in the
manner of a Ländler (rustic precursor to
the waltz). The movement closes with
an abridged version of the Scherzo’s
opening section.
The Poco adagio third movement
posits a set of five variations on a sad
melody intensified by darkly expressive
chromatic harmonies. The theme itself
bears a familial resemblance to the rising
theme from the opening movement.
The rich fugal closing Poco allegro
sweeps away lingering sighs. Though
unhurried, the music is of a positive
nature, and Brahms marks the main
theme Tranquillo in its first appearance;
later he writes Semplice. Quick-paced
thematic fragments alternate with flowing
cantabile tunes. Brahms’ contrapuntal
mastery is in full evidence in this
movement, especially as the music
ramps up to a brilliant conclusion.
A N TO N Í N DVO Ř Á K
Piano Quintet No. 2 in A major, Op. 81
BORN:
September 8, 1841, in Nelahozeves,
in music. He was emphatically a nonpolitical nationalist, proud of his region’s
rich cultural legacy, yet free of any of the
“anti” dogmas that sadly were a corollary
of the darker side of this same pride.
For one thing, Dvořák, who had to
fight to ensure that the Czech version
of his first name replaced its German
counterpart — Anton — on newlypublished scores, was beholden to the
enthusiasm of musicians and audiences
in non-Czech areas, predisposing him
toward an all-embracing humanity. Much
of his early success was in England,
and his chief advocate among fellow
composers was the echt Deutsch
Johannes Brahms. Dvořák’s own musical
enthusiasms reached far beyond his
Bohemian countryside; many of his
works bask in overt Wagnerism (third
and fourth symphonies), while many
more wed his natural/national tendencies
toward a Brahmsian intellectualism most
noticeable in the seventh symphony
in D minor and in many middle period
chamber works.
In his well-filled canon of chamber music
Antonín Dvořák balanced two major
influences on his style: his absorption
of musical construction from his lifelong
advocate and friend, Johannes Brahms
and his ever-vital Bohemian birthright.
Even when strongly Brahmsian, Dvořák
infuses the textures with melodic
snippets and chord progressions
unequivocally Czech, and in the midst
of his most unbuttoned Czech rusticity,
a rigorous formal schema evokes the
mental processes of Brahms.
Bohemia
DIED:
May 1, 1904, in Prague
WORK COMPOSED:
1887
WORLD PREMIERE:
1888, in Berlin
A wave of national fervor spread across
Europe throughout the 19th century.
It was a veritable Pandora’s box that
released, on the one hand, ideas of selfgovernance and healthy pride about
one’s culture, and virulent xenophobia
on the other. One of the salutary
expressions of Romantic nationalism lay
in the wealth of new and often exotic
musical vocabularies that enriched the
concert literature. Among a host of
worthies, Antonín Dvořák stands high
as a spokesman for benign nationalism
His fine Op. 81 Piano Quintet, a
thoroughbred in Romantic era chamber
music, dates from 1887 when Dvořák
was living on his brother-in-law’s estate
at Vysoká, a country village not far from
Prague. Written quickly by a composer
at the height of his creative powers, the
Quintet is charged by sudden mood
shifts that parallel his basic personality.
Episodes of melancholy yield to buoyant
optimism, anxiety to serenity.
forcefully articulated by the two violins.
Drama-enhancing detours into the
minor mode underscore emotional
volatility. A brilliant development section
demonstrates mastery of classic sonata
form and variation, no doubt achieved
through his intimate knowledge of
Brahms’ scores. The movement closes
dramatically as the opening theme is
further animated by assertive octaves in
the piano part.
The following rondo is based on a
Dumka, a Ukrainian song of lament much
used by Dvořák; the sad Dumka tune
serves as a connective link between
contrasting episodes. Here, too, the
music explores a wealth of moods often
achieved by disguising the recurring
theme through changes in overall
shape, tempo and texture. A brief, very
fast central section provides a clever
permutation of the doleful main theme.
Another country-based dance, the
traditional Czech Furiant, animates
the ensuing Scherzo, investing the
movement with great ardor. By contrast,
the rustic Trio is the epitome of
unselfconscious charm.
The Finale leaps forward with
unstoppable fervor, drawing energy
from its dotted main theme; a bit of folkfiddling adds a dash of local color even
as the composer transforms this rustic
gesture into a learned but vital Fugato,
another reflection of his Brahmsian
inclination. As the movement draws near
its close it seems as if Dvořák will go
quietly in a dreamlike manner, but an
irrepressible burst of enthusiastic energy
does exactly the opposite in the closing
half-minute or so.
© 2016 Steven Lowe
Such noticeable shifts are readily
apparent in initial part of the opening
Allegro, ma non tanto. A sweetly
beguiling tune for cello supported by
rippling piano figurations soon morphs
into a vehement alternative version,
CONCE RT
S PONSOR
Thursday, June 9, 2016, at 7:30pm
Friday, June 10, 2016, at 12 noon
Saturday, June 11, 2016, at 8pm
The Wells Fargo Foundation
is delighted and honored
to present this evening’s
performance by the Seattle
Symphony with Ludovic Morlot,
featuring Artist in Residence
Jean-Yves Thibaudet.
GERSHWIN &
BEETHOVEN
Seattle Symphony
ANNA CLYNE This Midnight Hour (U.S. Premiere)
GEORGE GERSHWIN
/ ver: Cambell-Watson
Concerto in F Allegro
Adagio - Andante con moto
Allegro agitato
10’
29’
INTERMIS SION
LUDWIG VAN BEETHOVEN Symphony No. 7 in A major, Op. 92 Poco sostenuto — Vivace
Allegretto
Presto
Allegro con brio
36’
Jean-Yves Thibaudet’s biography and reflection on the program may be
found on page 41.
Pre-concert Talk one hour prior to performance.
Speaker: Dr. Larry Starr, University of Washington Chair of Music History;
Waters Endowed Professor joined by composer Anna Clyne.
Anna Clyne’s This Midnight Hour is presented as part of the Seattle Symphony’s New Music
WORKS initiative, which is supported in part by a grant from the National Endowment for the
Arts. New Music WORKS features commissions, concerts and educational activities that use
composition as a catalyst for collaboration and engagement in music.
Jean-Yves Thibaudet’s performances are generously underwritten by Sheila B. Noonan and
Peter M. Hartley through the Seattle Symphony’s Guest Artists Circle.
Thursday, June 9 performance sponsored by Wells Fargo Private Bank.
44
SEATTLESYMPHONY.ORG
Like the Seattle Symphony,
Wells Fargo has long been a
part of Washington State’s
history, serving the financial
needs of families and business
since 1852. With nearly 3,500
team members, we are one of
the region’s largest employers
and are grateful for the
contribution that the Seattle
Symphony makes to the Puget
Sound’s vibrancy, economy and
quality of life.
Our commitment to the
Symphony, and to so many
other excellent organizations
around the region, is reflected
in our corporate and team
member giving, community
development investments,
and the tens of thousands of
volunteer hours contributed
by Wells Fargo team members.
This corporate commitment
represents a legacy of
leadership for which we are
extremely proud, both as
employees and as members of
this community.
On behalf of Wells Fargo,
our team members and
their families, thank you
for supporting the Seattle
Symphony. We hope that
you thoroughly enjoy these
extraordinary works, performed
by our Grammy Award-winning
symphony.
Marco Abbruzzese
Regional Managing Director,
Wells Fargo Private Bank
Performance is the
result of preparation
The success of the Seattle Symphony Orchestra is the result of careful practice and planning. Your financial
plan should perform for you too. When you work with the specialists at Wells Fargo Private Bank, your goals,
needs, and vision for the future are at the center of that plan.
To start a new kind of conversation, contact your local Wells Fargo Private Bank office:
Marco Abbruzzese
Regional Managing Director
(206) 340-4647
marco.a.abbruzzese@wellsfargo.com
wellsfargoprivatebank.com
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SIFF.NET
PROGRAM NOTES
Fascinatin’ Rhythm
The three works on our program seem,
on first consideration, to have little in
common. Each represents a different
compositional genre — symphony,
concerto and atmospheric tone
poem — as well as a different century
and aesthetic outlook. But for all
their surface disparity, they share an
important trait: the elevation of rhythm
to a position of unusual importance in
the musical design.
In Anna Clyne’s new composition This
Midnight Hour, driving rhythms provide
a link to early-modern works such as
Stravinsky’s The Rite of Spring. George
Gershwin brought the rhythms of jazz
to his concert music, including his
Concerto in F. Here the slightly uneven
two-note figure of the Charleston runs
through the opening movement, while
a frenzy of syncopation propels the
finale. And in Beethoven’s Seventh
Symphony, rhythm so animates the
music that Richard Wagner famously
extolled the composition as “the
quintessence of dance.
A N N A C LY N E
This Midnight Hour
BORN:
March 9, 1980, in London
NOW RESIDES:
Brooklyn, NY
WORK COMPOSED:
2015
WORLD PREMIERE:
November 13, 2015, in
Plaisir, near Paris. Enrique Mazzola conducted
l’Orchestre national d’Île de France
“A woman, stripped bare, running mad
though the night.”
This striking image comes from the
Spanish poet Juan Ramón Jiménez
(1881–1958, winner of the Nobel Prize
for literature in 1956). Its intimation of
a nocturnal scene, wild movement,
emotional abandon and dream-like
surreality seems strongly suggestive of
music. So, at least, it struck composer
Anna Clyne, who captured these
qualities and more in her orchestral
piece This Midnight Hour.
Clyne has quickly emerged as one of
the most accomplished composers of
by Paul Schiavo
her generation. Born in London and now
based in New York, she has written for
instrumental, vocal and mixed ensembles
of different sizes, and using electronic
as well as acoustic resources. Her
compositions have been commissioned
and performed by major orchestras
and other ensembles on both sides of
the Atlantic. In 2010 she was chosen
by Riccardo Muti, music director of the
Chicago Symphony Orchestra, to be
that ensemble’s composer-in-residence
from 2010–15. She has also received
composer residencies at several
important music festivals; with l’Orchestre
national d’Île de France, from 2014–16;
and with the Baltimore Symphony
Orchestra for the 2015–2016 season. All
this constitutes an impressive résumé.
That Clyne recently turned 36 makes it
remarkably so.
drones in the low brass and strings, with
the woodwinds providing faint, slowmotion echoes of the arabesque melody.
Clyne composed This Midnight Hour last
year to a joint commission from Seattle
Symphony and l’Orchestre national d’Île
de France. The single-movement piece
takes much of its inspiration from two
poems: one by Jiménez, quoted above;
the other by Charles Baudelaire. That
poem, “Harmonie du soir,” speaks of
“sounds and perfumes mixing in the
night air;” “melancholy waltzes and lightheaded languor;” “a tender heart that
detests the vast, dark void.”
GEORGE GERSHWIN
Typical of the French symbolist
style of which Baudelaire was the
prime exemplar, these verses are
strongly evocative yet elusive in their
precise meaning. Similarly, Clyne’s
composition means to convey only
feelings and impressions suggested
by its title. “Whilst it is not intended
to depict a specific narrative,” the
composer says of The Midnight Hour,
“my hope is that the music will evoke
a visual journey for the listener.”
At the start, the
low strings play rapid figures in steady
rhythms, creating a vivid impression of
nocturnal flight. As other instruments
join in, that impression grows more
intense. The music takes a new turn as
timpani and bass drum establish a monorhythmic tolling. Over it, piccolo and
then other woodwinds play a cascading
melodic arabesque. Varied repetitions of
this figure produce an eerie passage that
eventually congeals into long, sustained
WHAT TO LISTEN FOR:
The running music begins again, even
more frantic than before; but suddenly,
and without any preparation, it happens
upon a waltz melody, one that fits
Baudelaire’s description of a “valse
mélancolique.” A recollection of the
arabesque tune leads to a resumption
of the flight music, but this proves shortlived. A new melody, quiet and folkloric
in sound, arises in the woodwinds and
leads to the work’s conclusion.
Scored for piccolo, flute, 2 oboes,
2 clarinets and 2 bassoons; 4 horns,
2 trumpets, 2 trombones and tuba;
timpani, percussion and strings.
Concerto in F
BORN:
DIED:
September 26, 1898, in Brooklyn, NY
July 11, 1937, in Hollywood, CA
WORK COMPOSED:
1925
WORLD PREMIERE:
New York. The composer was the piano soloist
and Walter Damrosch conducted the New York
Symphony Orchestra.
George Gershwin was not the first
composer to bring the sounds of jazz
and other styles of American popular
music to the concert hall, and he
certainly has not been the last. But he
was perhaps the most successful and
influential composer to do so. At a time
when our popular music still was widely
regarded as frivolous and unworthy
of serious consideration, Gershwin
combined elements of blues and 1920s
jazz with compositional forms and
instrumental resources established by
European musicians. Sadly, he did not
live to see his best works take their
rightful place as classics of American
concert music, but today there is no
doubt that they are just that.
Gershwin had achieved exceptional
success as song writer and a composer
of Broadway musicals by the time he
reached age 25. In 1924 his Rhapsody
in Blue demonstrated his ability to write
PROGRAM NOTES
continued
concert music also. The tremendous
acclaim that work garnered brought
a commission from Walter Damrosch,
a renowned conductor, to compose a
piano concerto. Gershwin immediately
accepted Damrosch’s invitation, in part to
lay to rest any lingering doubts about his
capabilities. “Many persons had thought
that the Rhapsody was only a happy
accident,” he later explained. “Well, I
went out, for one thing, to show them
that there was plenty more where that
had come from.”
The finale returns to quick tempo and
high energy we heard at the start of
the concerto. Gershwin described this
movement as “an orgy of rhythms,
starting violently and keeping to the
same pace throughout.”
Beethoven’s other orchestral works
— the joy the composer could find
in his own creative powers, in simply
combining melody, rhythm, harmony and
instrumental colors for the purpose of
lucid and beautiful musical invention.
Scored for solo piano, piccolo and 2
flutes; 2 oboes and English horn; 2
clarinets and bass clarinet; 2 bassoons;
4 horns, 3 trumpets, 3 trombones and
tuba; timpani, percussion and strings.
The Concerto in F did just that and
then some. It is perhaps Gershwin’s
most successful attempt at a largescale instrumental composition using
the idioms of American popular music,
a fresh and vital fusion of jazz rhythms,
blues harmonies and classical form.
The concerto was first heard in a
performance at Carnegie Hall on
December 3, 1925. Though critics’
reactions were mixed, the audience
responded with great enthusiasm, and
their judgment has, of course, prevailed.
LU DW I G VA N
B E E T H OV E N
As he had done in his First, Second and
Fourth Symphonies, Beethoven prefaces
the initial movement with an introduction
in slow tempo. The ensuing Allegretto
is one of the composer’s most popular
creations, so much so that orchestras in
the 19th and early 20th centuries often
performed it as an independent piece.
There follows music full of delightful
commotion. The English conductor and
commentator Donald Francis Tovey
described the finale aptly as “a triumph
of Bacchic fury.”
Following
a flourish of timpani strokes and
snappy woodwind figures, Gershwin
establishes the asymmetrical rhythm of
the Charleston, the signature dance of
the jazz-happy 1920s. Almost at once
he adds a theme in skipping rhythms,
introduced by bassoon. The orchestral
paragraph that occupies the opening
minute of the first movement brims with
modern urban energy, but the piano
joins the proceedings with a new idea
in a languorous vein. A third subject,
again given out by the orchestra,
recaptures the energy of the opening
and reestablishes the Charleston
rhythm. Having established vigorous and
relaxed moods and materials, Gershwin
moves fluidly between them during the
remainder of the movement.
WHAT TO LISTEN FOR:
Gershwin described the second
movement as being in the style of the
blues. The music actually has nothing of
the structural and harmonic character of
that essential American song form, but
long melodic lines spun by trumpet and
oboe do suggest the sweet melancholy
of many blues tunes. The piano brings
brighter material, with lightly tripping
rhythms and laughing figures.
48
SEATTLESYMPHONY.ORG
Symphony No. 7 in A major, Op. 92
BORN:
DIED:
Bonn, December 16, 1770
Vienna, March 26, 1827
WORK COMPOSED:
1811–12
WORLD PREMIERE:
Vienna, under the composer’s direction
Each of Beethoven’s nine symphonies
presents different characters and
attributes. The First and Second are
classically elegant, the Third and Fifth
explicitly heroic, while the Sixth presents
a programmatic journey through a
pastoral landscape. The composer’s
Seventh Symphony, completed in 1812,
answers to none of these adjectives.
It implies no drama or narrative, either
heroic or pastoral. Indeed, Beethoven
vehemently rejected attempts by his
contemporaries to assign a program,
a hidden story line, to the work. It
offers no hint of the composer’s wellknown battles with fate, deafness and
loneliness, nor the sense of crisis and
catharsis that make the Fifth and Ninth
Symphonies so compelling.
But the Seventh Symphony does provide
a feeling of relaxed spaciousness and
the kind of warm, almost luxuriant
orchestral sound otherwise encountered
in Beethoven’s output only with the
“Pastoral” Symphony. These two works
are the most sensual of the composer’s
works. And because it lacks the kind
of narrative program that animates its
predecessor, the Seventh Symphony
expresses, as much as anything, the
wonders of music itself. One senses
— more, perhaps, than in any of
The strong chords
that punctuate the oboe’s melody in
the symphony’s opening moments
define one of the work’s important
attributes: sheer sonority, a reveling
in the physical reality of orchestral
sound. Another element that emerges
near the end of the broad introductory
passage is rhythm, as repeated-note
figures decelerate incrementally, then
metamorphose into a tripping rhythmic
motif. Beethoven carries this figure into
the Vivace that forms the main body of
the first movement, where it underlies all
the principal thematic ideas.
WHAT TO LISTEN FOR:
The second movement also builds
upon a simple rhythmic figure, one that
appears immediately after a prefatory
chord in the opening measures. This
indefatigable rhythm supports a melody
whose narrow compass promises little.
But from its humble beginning, the theme
soars through successive variations to
quite unexpected heights. Eventually
Beethoven offers a contrasting
second subject — a major-key melody
introduced by the clarinet — and here,
too, the rhythmic motto flows as an
undercurrent. The movement builds to a
sonorous climax, then gradually subsides
toward silence, reaching at last the same
luminous chord on which it began.
The movement that follows begins with
a robust tutti passage whose rapid 3/4
pulse and rustic character indicate a
scherzo, though Beethoven does not
expressly designate the movement as
such. Balancing the highly animated
main theme are the broad strains of
a twice-heard contrasting section, or
Trio. Its melody was reported to be
based on an old Austrian pilgrims’
hymn, and in Beethoven’s hands it
attains a degree of grandeur never
before encountered at this point in a
symphony. In closing the movement,
Beethoven toys with our expectations:
a restatement of the opening bars of
the Trio promises another repetition of
this section until five swift chords bring
matters to a decisive conclusion. The opening moments of the finale
present a sharply etched rhythmic
motif, and as in the first and second
movements, this provides the seed
from which practically all subsequent
developments spring. Rhythmic play also
contributes to the unbroken sense of
momentum Beethoven maintains from
the opening measures straight through
to the end.
Scored for pairs of winds, horns and
trumpets; timpani and strings.
“I
am thrilled to share the music of young
British composer Anna Clyne, whom I met
when she was composer in residence at
Chicago Symphony Orchestra alongside
Mason Bates. I premiered her violin
concerto, The Seamstress, with Jennifer
Koh and the Chicago Symphony Orchestra
in May of 2015.”
“Gershwin
remains one of my favorite
American composers. Though it is hard to
appreciate how innovative he is today, and
some people may consider his music ‘light,’
I see him as a true modernist.”
“Of
the nine Beethoven symphonies,
Symphony No. 7 had the best reception
at the premiere, and gained international
recognition almost instantly. We always
associate the second movement of
Beethoven Symphony No. 7 with the
greatest and most tragic events throughout
history.”
PROGRAM NOTES
Monday, June 13, 2016, at 7:30pm
Tonight’s program is comprised of music
by only two composers, both organists
whose careers were inextricably
linked together during much of their
lives. Charles-Marie Widor presided as
organist titulaire at the great CavailléColl organ at the Church of Saint
Sulpice in Paris from 1870 until 1934.
Upon his retirement at the age of
89, Widor handed over these duties
to his protégé Marcel Dupré, who
served until his own death in 1971.
JOSEPH ADAM
FLU KE /GABE LEIN ORGA N RECITA LS
Joseph Adam, organ
MARCEL DUPRÉ
Prélude and Fugue in G minor, Op. 7, No. 3
MARCEL DUPRÉ
Suite Bretonne, Op. 21
Berceuse
Fileuse
Les Cloches de Perros-Guirec
MARCEL DUPRÉ
Variations sur un vieux Noël, Op. 20
15’
13’
INTERMISSION CHARLES-MARIE WIDOR
Organ Symphony No. 7 in A minor, Op. 42, No. 3
Allegro
Choral: Andante
Andante – Allegretto
Allegro non troppo
Lento
Finale: Allegro vivace
50
8’
SEATTLESYMPHONY.ORG
45’
Born into a family whose overwhelming
passion was music, Dupré became
a student of Alexandre Guilmant at
the Paris Conservatoire in 1902, from
whom he acquired a sterling and
disciplined technique. He went on to
an unparalleled career as an organ
virtuoso and teacher, becoming, like
Widor, Professor of Organ, and ultimately
Director of the Paris Conservatoire,
educating generations of musicians.
The first half of tonight’s program
includes three works that date from
the first decades of Dupré’s career.
The Three Préludes and Fugues,
Op. 7, were composed during the
summer of 1912, when the young
organist and aspiring composer was
recuperating from the demands of his
first attempt at winning the prestigious
Prix de Rome competition (he would
be successful on his third attempt in
1914). His first major compositions for
the organ, they were unprecedented in
their technical demands upon the player;
undoubtedly Dupré composed them
chiefly with his own formidable skills
in mind. They were finally published in
1920, after Dupré’s international career
had been firmly established. The Prélude
and Fugue in G minor became one of
Dupré’s most favorite pieces, and he
performed it often on his concert tours.
The Suite Bretonne, Op. 21 was
composed in 1923, and bears
unmistakable influences from Dupré’s
acquaintance with contemporary
American organ building during his first
concert tours of North America. The
work has been described as a suite
of water colors, representations of life
in Brittany. The opening Berceuse, or
cradle song, represents the maternal
rocking of a child by his mother, with a
gentle motion and quiet registrations.
J O S E P H A DA M
by Joseph Adam
Organ
Joseph Adam
is Resident Organist of
the Seattle Symphony.
He has been Cathedral
Organist at St. James
Cathedral in Seattle
since 1993, and is
serving as Interim
Director of Music at
Photo courtesy of Joseph Adam
St. James Cathedral as
of January 2015. He has been a faculty
member at the University of Puget Sound
in Tacoma for the past 15 years.
FORTE:
Fileuse, or spinning song, depicts the
Breton peasant women at work at their
spinning wheels. This movement was
another of Dupré’s favorite encores. Les
Cloches de Perros-Guirec (the bells of
Perros-Guirec) depict a Sunday morning
procession of peasants on their way
to church in this small coastal town,
accompanied by the church bells.
One year earlier, Dupré composed the
Variations Sur un vieux Noël during
Dupré’s first North American tour, each
variation written in a different city. Based
on the old French Christmas carol
Noël nouvelet, the work begins with
a presentation of the melody, with a
simple accompaniment. The majority of
the succeeding variations present the
melody in a variety of canons (the melody
presented at the same time, starting a
bit later, and sometimes at another pitch
level). The wide variety of textures and
registrations in the variations doubtlessly
reflects Dupré’s extensive skills as an
expert improviser in this form. The final
variation begins as a fugue (another form
in which Dupré excelled) and concludes
with a blistering toccata in a blaze of glory.
Born in Lyon in 1844, Charles-Marie
Widor was descended from a family
which included several generations
of organists and organ builders. His
development as an organist was rapid,
and at the age of 19, he journeyed
to Brussels, where he studied organ
with Jacques-Nicolas Lemmens and
composition with Joseph Fétis. Both
found in Widor a limitless talent, an
insatiable appetite for long hours of
study and practice, and an appreciation
for the highly disciplined approach
that characterized their teaching.
Upon the death of Lefébure-Wély in
1870, the position of Organist titulaire
became vacant at the Church of SaintSulpice, the home of Cavaillé-Coll’s
magnum opus, an opulent five-manual
organ of 98 stops. Through Cavaillé-Coll’s
recommendation, the 25 year old Widor
was appointed to the position — though
as a temporary appointment, as there
had not been the usual competition to
select Lefébure-Wely’s successor. (He
was to remain the “temporary” organist
for sixty-four years; when the clergy failed
to bring up the subject at the close of
the first provisional year, Widor thought it
prudent to leave the question unasked,
and the question remained unasked
to the end of his tenure in 1934.)
Widor’s Symphony No. 7 in A minor
was completed in 1887, and marks a
major stylistic advancement in Widor’s
works. The earliest four symphonies
had more than an occasional moment
of a salon style; the Fifth and Sixth
Symphonies are much more serious in
style, yet composed in an uncomplicated
musical language. In the Seventh and
Eighth Symphonies, Widor engages
in infinitely more complex motivic
development, with an increasingly
more chromatic harmonic plan.
The opening Allegro contains some of
Widor’s most dramatic writing, based
on an initial jagged motif which occurs
throughout the entire movement; it
was one of Widor’s favorites of all his
works, one that he played most often
at St. Sulpice. The Choral opens with
an unusual presentation of the first
theme in six parts with double pedal;
the movement alternates between
variations of this opening melody and
an agitated second theme in triple
meter. The Andante is in a menuet/
trio form, a highly favored genre
by Parisian composers in the 19th
century. Yet within a straight-forward
structure, Widor never simply restates
a theme — it is invariably embellished
and varied with an accompaniment of
surpassing interest and skill. The fourth
movement is the most étude-like of the
symphony, presenting a rather slow
and simple melody with a cascade of
accompanying arabesques reminiscent
of the piano works of Franz Liszt, a
composer whom Widor admired greatly.
The fifth movement is a serene Lento,
though given great strength by the
breadth of the phrases and the full
sonorities of the foundation stops.
The concluding Finale is almost
brutal in its strength, and a complete
contrast to the broad, spacious lines
of the preceding movement — the
entire resources of the organ are
called upon in a manner without
precedence in Widor’s compositions,
giving a strength and directness that
cannot leave a listener unshaken.
As part of
the 10th anniversary celebration of the
Seattle Symphony’s Watjen Concert
Organ in October 2010, Adam performed
organ concertos by Handel and Hanson
with conductor Gerard Schwarz and the
orchestra. Adam also performed organ
concertos by Handel with conductor
Nicholas McGegan in January 2010. He
has given annual recitals at Benaroya Hall
since 2003.
HIGHLIGHTS IN THE HALL:
Adam has
performed at Chartres Cathedral, St.
Thomas Church in Leipzig, the Bavokerk
and the Basilica of St. Bavo in Haarlem
(Netherlands); and at cathedrals in St.
Albans, Newcastle and Chester, England;
Mainz, Magdeburg and Erfurt, Germany;
Pecs, Hungary; and Vienna and Graz,
Austria. His U.S. performances include
Disney Hall in Los Angeles, Grace
Cathedral in San Francisco, St. Paul’s
Cathedral in Pittsburgh, Holy Cross
Cathedral in Boston and the National
Shrine in Washington, D.C. In July 2004
Adam was one of three organists to take
part in the inaugural performances of the
Glatter-Gotz/Rosales Organ at Disney Hall
in Los Angeles, which was also part of the
National Convention of the American Guild
of Organists.
AROUND THE WORLD:
Available on the Loft, Gothic
and Ambassador labels.
RECORDINGS:
Adam received
undergraduate and graduate degrees in
piano from the University of Iowa, and a
Performer’s Certificate in Organ from the
Eastman School of Music. He won First
Prize in the St. Albans International Organ
Competition in 1991.
BACKGROUND:
© 2016 Joseph Adam
LU D W I G W I C K I
Conductor
Friday, July 15, 2016, at 8pm
Saturday, July 16, 2016, at 8pm
Sunday, July 17, 2016, at 2pm
THE LORD OF
THE RINGS:
THE FELLOWSHIP
OF THE RING
WITH THE SEATTLE
SYMPHONY
Ludwig Wicki, conductor • Alex Zuniga, boy soprano • Kaitlyn Lusk, soprano •
Northwest Boychoir • Seattle Symphony Chorale • Seattle Symphony
HOWARD SHORE The Lord of the Rings: The Fellowship of the Ring
Part One:
Prologue: One Ring To Rule Them All •
The Shire • Bag End • Very Old Friends •
Farewell Dear Bilbo • Keep It Secret, Keep It Safe •
A Conspiracy Unmasked • Three is Company •
Saruman the White • A Shortcut to Mushrooms •
Strider • The Nazgûl • Weathertop • The Caverns
of Isengard • Give Up the Halfling • Orthanc •
Rivendell • The Sword That Was Broken •
The Council of Elrond Assembles • The Great Eye
94’
INTERMIS SION
Part Two:
The Pass of Caradhras • The Doors of Durin •
Moria • Gollum • Balin’s Tomb • Khazad-dûm •
Caras Galadhon • The Mirror of Galadriel •
The Fighting Uruk-hai • Parth Galen •
The Departure of Boromir • The Road Goes
Ever On...
Northwest Boychoir’s biography and roster may be found on page 34.
Joseph Crnko’s and the Seattle Symphony Chorale’s biography and roster may
be found on page 37.
52
SEATTLESYMPHONY.ORG
85’
Ludwig Wicki is a native
of Lucerne, Switzerland.
He studied trombone,
orchestral and choral
conducting, and
became a member of
the Lucerne Symphony
Orchestra. He
continued his
education in choir conducting with Cantor
Martin Flämig in Dresden and orchestra
conducting with Professor Donato Renzetti
in Pescara. He was invited to study with
the Empire Brass Quintet at the
Tanglewood Academy in Boston. As a
baroque trombonist, Wicki was fortunate to
collaborate with such luminaries as
Andrew Parrott, Nikolaus Harnoncourt,
Jeremy West and Simon Standage. In
2007 he was honored by the city of
Lucerne for his accomplishments as a
musician and educator. He is currently
Chorus Master at the Lucerne Abbey Court
Church, Artistic Director of the
Renaissance Ensemble “Il Dolcimelo” and
the Principal Conductor of the 21st Century
Orchestra, with whom he recorded
Howard Shore’s “Lord of the Rings
Symphony” in 2011.
“I’m very honored to
conduct Howard Shore’s The Fellowship
of the Ring score in Seattle. I have adored
movie music since I started studying music,
so it was a dream come true when I met
Howard Shore and had the opportunity to
conduct his music. He let me conduct the
world premiere of all three The Lord of the
Rings live to the projected movies with my
orchestra, the 21st Century Orchestra, in
my hometown Lucerne (Switzerland).”
FROM THE ARTIST:
“I love all the music styles, from the
Middle Ages to today, and this is one of
the reasons why movie music interests
me. It connects many styles of writing in
a very colorful and open way. But also
the power and energy this music creates
is wonderful. It varies from love to war,
combines peaceful, romantic and wild
phrases of music writing. I enjoy the
wonderful melodies that Howard Shore
wrote. It’s a gift and a dream to conduct
this amazing creation.”
K A I T LY N LU S K
H O WA R D S H O R E
Soprano
Composer
Lusk made her major
orchestral debut with
the Baltimore
Symphony at the age
of 14 and was the
youngest featured
guest artist in the New
Year’s Eve showcase
with the Boston Pops.
Lusk’s first studio album, No Looking Back,
features some of the finest musicians and
songwriters in the industry today. Over the
last decade, Lusk has been the featured
vocal soloist in Howard Shore’s live
performances of The Lord of the Rings,
performing this role with over 75 of the
world’s finest orchestras and many
world-renowned conductors.
“Tonight you will hear
me delve into many ranges of my voice:
some emanating as the elves of Lothlorien,
and other soaring soprano notes of
longing. But don’t leave till after the credits
— I save the best for last!”
FROM THE ARTIST:
ALEX ZUNIGA
Boy Soprano
Alex Zuniga is 13 years
old and is a seventh
grader at Showalter
Middle School in
Tukwila. He is actively
involved with ASB and
is a percussionist in his
school band. Alex is a
member of the
Northwest Boychoir. He has been singing
with the Boychoir since he was 8 years old.
Alex has performed at Benaroya Hall with
the Seattle Symphony and the Northwest
Sinfonia. Alex recently starred as Amahl in
the operetta Amahl and the Night Visitors.
This spring he soloed in Stabat Mater from
the Choral Tradition concert series. He has
also worked on multiple recordings with
the Northwest Boychoir. In his spare time
he takes piano lessons, creates and writes
music, and does volunteer work for the
Special Olympics.
As one of today’s
premier composers,
Howard Shore’s music
is being performed by
the most prestigious
orchestras in concert
halls and theaters
around the world.
Photo: Benjamin Ealovega
The music Shore
created for J.R.R. Tolkien’s imaginative
world of The Lord of the Rings and The
Hobbit, as portrayed in the films directed
by Peter Jackson, have enthralled people
of all generations. This work stands as
one of his most acclaimed compositions
to date and was honored with three
Academy Awards, four Grammy Awards,
two Golden Globes as well as numerous
critic and festival awards.
Most recently Shore wrote the score for
Spotlight, which was just awarded Best
Picture by the Academy of Motion Picture
Arts and Sciences. He has scored six of
Martin Scorsese’s films (The Departed,
Hugo), fifteen for David Cronenberg
(Naked Lunch, The Fly), and provided
music for many esteemed directors over
the past forty years.
Shore is an Officier de l’ordre des Arts
et des Lettres de la France and the
recipient of Canada’s Governor General’s
Performing Arts Award.
“The origin of this
particular presentation of cinematic
image and music came as my process
of compiling and releasing The Lord of
the Rings - The Complete Recordings
was coming to an end. After three years
of working with these recordings to
prepare for the releases, I experienced
an overwhelming desire to hear the
entire score played live. From the very
first concert I realized I was having a
completely new and unique experience. I
sat in the audience watching and listening,
I had a strong sense that I was seeing the
music with more clarity and hearing the
image in an entirely new way!”
FROM THE ARTIST:
All Compositions by Howard Shore (ASCAP) except:
“Aníron (Theme For Aragorn And Arwen)” and “May It
Be” Music by Enya/Nicky Ryan, Lyrics by Roma Ryan
featured in “The Council of Elrond Assembles” and
“The Road Goes Ever On…” respectively.
“Flaming Red Hair” Composed by Janet Roddick,
David Donaldson, Stephen Roche and David Long;
Performed by Janet Roddick, David Donaldson,
Stephen Roche and David Long with Chris O’Connor,
Peter Daly, Ruairidh Morrison and Grant Shearer.
The Song “The Road Goes Ever On” featured in
“Bag End” performed by Ian McKellen and reprised
in “Keep It Secret, Keep It Safe” performed by Ian
Holm: Music Composed by Fran Walsh, Lyrics by
J.R.R. Tolkien.
“Lament For Gandalf” Featured in “Caras Galadhon”
Music by Howard Shore, Lyrics by Philippa Boyens.
“In Dreams” Featured in “The Road Goes Ever On…”
Music by Howard Shore, Lyrics by Fran Walsh.
Choral Text by J.R.R. Tolkien, Philippa Boyens and
Fran Walsh.
Published by New Line Tunes (ASCAP) except:
“Gandalf’s Lament” and “In Dreams”which are copublished by New Line Tunes (ASCAP) and South
Fifth Avenue Publishing (ASCAP), “Aníron (Theme For
Aragorn And Arwen)” and “May It Be” Published by
EMI Music Publishing Ltd. c/o EMI Blackwood Music
Inc. (BMI).
© 2001 All Rights Reserved.
The Lord of the Rings and the name of the
characters, events, items and places therein, are
trademarks of The Saul Zaentz Company d/b/a
Tolkien Enterprises under license to New Line
Productions, Inc. All Rights Reserved.
Mr. Shore would like to thank: Peter Jackson, Fran
Walsh, Philippa Boyens, J.R.R. Tolkien, Stephen
Einhorn, Michael Mulvihill, Ronald Wilford, JeanJacques Cesbron, New Line Cinema, Mark Ordesky,
Paul Broucek, Danny Bramson, Lori Silfen, Elizabeth
Cotnoir, Alan Frey, Ludwig Wicki, Pirmin Zängerle,
Doug Adams, James Sizemore, Jesse Pynigar,
Tim Starnes, Jeffrey Markowitz, Jeff Halsey, Javier
Manzana, Kaitlyn Lusk, Peter Boyer, Tom Sorce,
Alex Zuniga, Seattle Symphony and Chorale, and
Northwest Boychoir.
Producers
Columbia Artists Music, LLC:
Ronald A. Wilford – Founding Chairman
Jean-Jacques Cesbron – President
Jeffrey Markowitz – General Manager & Production
Supervisor
Javier Manzana – Associate Manager & Production
Associate
Tom Sorce – Sound Engineer
Peter Boyer – Assistant Conductor
Howard Shore
Prince in New York Music Corporation
Jesse Pynigar and Tim Starnes – Auricle
S EAT T L E SYMPHONY DONORS
PRINCIPAL BENEFACTORS
SYMPHONY MUSICIANS CIRCLE
The Seattle Symphony acknowledges with
gratitude the following donors who have made
lifetime commitments of more than $1 million as
of March 28, 2016.
The following donors have generously sponsored a
section musician 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
Virginia and Bagley* Wright
Anonymous (6)
*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
Grant and Dorrit Saviers
Mel and Leena Sturman
The Atsuhiko and Ina Goodwin Tateuchi Foundation
Muriel Van Housen and Tom McQuaid
PRINCIPAL MUSICIANS CIRCLE
The following donors have generously underwritten
the appearances of principal musicians this season.
Sue and Robert Collett
Paul Leach and Susan Winokur
Patricia Tall-Takacs and Gary Takacs
54
SEATTLESYMPHONY.ORG
Stephen Elop
Margaret Haggerty
Hot Chocolate Fund
Dr. Ryo and Kanori Kubota
Mr. and Mrs. Richard Moore
Melvyn and Rosalind Poll
Jane and James Rasmussen
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 March 28, 2016. 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)
James and Sherry Raisbeck 10
Patricia and Jon Rosen o 5
Grant and Dorrit Saviers 5
Mel and Leena Sturman
The Atsuhiko and Ina Goodwin Tateuchi Foundation 5
Muriel Van Housen and Tom McQuaid 5
Stephen and Leslie Whyte o 5
Virginia and Bagley* Wright ^ 15
Anonymous (1)
MAESTROS CIRCLE
Gold ($15,000 – $24,999)
Richard and Constance Albrecht ^ 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
Moe and Susan Krabbe 15
Dawn Lepore and Ken Gladden o 5
Edmund W., 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 10
Sally G. Phinny ^ 5
Seattle Symphony Volunteers
Patricia Tall-Takacs and Gary Takacs ^ 15
Anonymous (2)
Silver ($10,000 – $14,999)
Gold ($100,000 – $249,999)
Eliza Flug, in memory of Martin Flug
Dave and Amy Fulton ^ 5
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* o 15
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 ^
Ms. Taylor Swift, The Taylor Swift Charitable Fund of
the Community Foundation of Middle Tennessee
H.S. Wright III and Katherine Janeway 15
Anonymous (2)
Bronze ($25,000 – $49,999)
Chap and Eve Alvord 15
Elias and Karyl Alvord 5
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 and Kathleen Wright o 10
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
Jay Picard o
Claire Angel o 5
Peter Russo and Kit Bakke 5
Larry and Sherry Benaroya o
Jeanne Berwick and James Degel 5
Thomas and Susan Bohn 15
Mardi and Frank Bowles
Paul B. Brown and Margaret A. Watson o 5
Jane and David R. Davis ^ 15
Brooke Benaroya Dickson
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
Margaret Haggerty
Dustin and Michelle Ingalls 10
Juniper Foundation 10
Janet Wright Ketcham Foundation 5
Will and Beth Ketcham o
Michael King and Nancy Neraas o 5
Dr. Ryo and Kanori Kubota o
Stephen Kutz o 5
Rhoady* and Jeanne Marie Lee 10
Dr. Pierre and Mrs. Felice Loebel ^ 15
Everil Loyd, Jr. 5
Jerry Meyer and Nina Zingale
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
Seattle Met o
Amy Sidell* 15
Donald and Mary Anne Strong 15
Betty Tong 5
M. Barton Waring 5
Gary and Karla Waterman ^ 5
SE AT T L E SYMP HONY DONORS
Selena and Steve Wilson 15
Mr. and Mrs. David C. Wyman
Anonymous (7)
FOUNDERS CIRCLE
Gold ($7,500 – $9,999)
Molly and Marco Abbruzzese o 15
René and April Ancinas o
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
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
Hans and Joan* van der Velden 15
Mark Wissmann and Christine Coté-Wissmann
Anonymous (3)
Silver ($5,000 – $7,499)
Jim and Catherine Allchin 15
Richard Andler and Carole Rush 5
John and Joan Baker 10
Silas Beane and Kristin Bunce
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
Ann Chandler
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
Donald G. Graham, Jr. 15
Sebastian Gunningham
Doug and Barbara Herrington
Margaret M. Hess
Glen and Ann Hiner
Bob and Melinda Hord
Walt Ingram, Wright Runstad & Company 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
Dr. L. Newell
Susan and Brian Olsavsky
John and Deanna Oppenheimer
Bob and Annette Parks
Tom and Sally Peyree
Mr. and Mrs. Charles M. Pigott 15
Mr. and Mrs. W. H. Purdy 15
Douglass and Katherine Raff 15
Dick and Alice Rapasky 10
Sue and Tom Raschella ^ 15
Carrie Delaney Rhodes
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
Buz and Helen Smith 15
Burnley and Jim Snyder
Linda Stevens ^ 15
John and Sherry Stilin 15
Michael and Christine Suignard
Sympaticos
Dr. Robert Wallace 5
Bryna Webber and Dr. Richard Tompkins 5
Ronald and Devorah Weinstein 5
Laurie and Allan Wenzel 5
Simon Woods and Karin Brookes +
Martha Wyckoff-Byrne and Jerry Tone
Marcia and Klaus Zech
Anonymous (2)
Bronze ($3,500 – $4,999)
John and Andrea Adams
Alina Kostina Violins
Lucius* and Phoebe Andrew 15
Geoffrey Antos 5
Susan Y. and Charles G. Armstrong ^
Bill and Nancy Bain ^
Dr. C. Bansbach
Suzanne M. Barker
Carol Batchelder 15
Rebecca Galt Black 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
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Mr. Colin Faulkner and Judith Feigin Faulkner
Ernest and Elizabeth Scott Frankenberg 5
Jean Gardner ^ 15
Doris H. Gaudette 15
Erica L. Gomez
Michele and Bob Goodmark
Barbara Hannah and Ellen-Marie Rystrom 15
Jane Hargraft and Elly Winer + 5
Terry Hecker and Dan Savage
Michèle and Dan Heidt 5
Deena J. Henkins
Dick and Nora Hinton
Jeanne Kanach 5
Karen Koon 10
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Steve and Donna Lewis 15
Judsen Marquardt and Constance Niva 5
Ian and Cilla Marriott 15
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Kevin McGuire
Justine and John Milberg 5
Ryan Mitrovich
Laina and Egon Molbak 15
Rena and Kevin O’Brien
Steven C. Phelps
Dr. and Mrs. Richard D. Prince 15
E. Paul and Gayle Robbins 5
Chuck and Annette Robinson 10
John Robinson and Maya Sonenberg 15
Mike and Marcia Rodgers
James T. and Barbara Russell
Dr. and Mrs. Werner E. Samson 5
Jeffrey C. Sherman
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Margaret W. Spangler 15
Sonia Spear 15
Lorna Stern 15
Alexander and Jane Stevens 10
Esther M. Su
Maryanne Tagney
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S. Vadman 5
Jean Baur Viereck 10
Steve Vitalich
Charlie Wade and Mary-Janice Conboy-Wade +
M. Elizabeth Warren 5
Mr. and Mrs. Michael Werner
Stephen and Marcia Williams
Kenneth and Rosemary Willman
Anonymous (6)
Conductors Club ($2,000 – $3,499)
Bill and Janette Adamucci 5
Harriet and Dan Alexander
Terry Allen
Mike and Sumi Almquist
Drs. Linda and Arthur Anderson
Tiffany Ashton and Curtis Freet
Richard Barbieri and Lyn Tangen
Mr. Charles Barbour and Mrs. Diana L. Kruis
Tom Barghausen and Sandy Bailey
Kris Barker
Patty and Jimmy Barrier
Chris and Cynthia Bayley ^ 5
Natalie and Michael Bayne
Dr. and Mrs. Ronald J. Beck 5
Ann and Bruce Blume
William and Beatrice Booth
Bob and Bobbi Bridge
Claire and Aaron Burnett
Butler’s Hole Fund
Craig and Jean Campbell 15
Dr. Mark and Laure Carlson 5
Mr. and Mrs. Ross Comer 10
Rosalie Contreras and David Trenchard + 5
Jeffrey and Susan Cook 5
Scott and Jennifer Cunningham
T. W. Currie Family 10
Dr. Bob Day 5
Frank and Dolores Dean 15
Anthony DiRe
Daniel and Roberta Downey
Dr. Lewis and Susan Edelheit
Educational Legacy Fund
William and Janice Etzold
Andrew Faulhaber 5
Mr.* and Mrs.* Jim Faulstich
Gerald B. Folland 5
Tom and Sandra Gaffney 5
Jane and Richard Gallagher 5
William Gates Sr. and Mimi Gardner Gates
Martin and Ann Gelfand
Nate Glissmeyer and Elizabeth Jennings
Bill and Joy Goodenough 15
Catherine B. (Kit) Green 10
Lucia and Jeffrey Hagander 5
Molly and Mike Hanlon
Ken Hayashi
Frederick and Catherine Hayes 15
Terrill and Jennifer Hendrickson 5
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Harold and Mary Fran Hill 10
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Masato and Koko Koreeda
Brian and Peggy Kreger 10
Timothy Krueger
Mark P. Lutz 15
Marilyn Madden 10
Louisa and Scott Malatos
Michael and Barbara Malone
10
A SYMPHONY FOR
TODAY AND TOMORROW
Your Gift to the Seattle Symphony Endowment
DID YOU KNOW?
A robust endowment is the financial foundation of every
successful major American orchestra.
An endowment is sometimes compared to a savings account
or seed corn. With careful investment, the principal bears
fruit in perpetuity. Season after season, earnings help to
fund concerts and community programs, recordings and bold
artistic initiatives. A strong endowment provides security and
resilience, and, when necessary, helps the orchestra weather
economic downturns.
To maintain a superb and enduring orchestra in our
community, please consider a Planned Gift to the
Seattle Symphony Endowment.
A STRONG ENDOWMENT PROVIDES
SECURITY AND RESILIENCE.
ANNUAL FUND OR ENDOWMENT?
Annual Fund gifts are essential to maintaining artistic
quality and funding day-to-day operations. A healthy
endowment builds a foundation for the future.
WHAT IS THE IDEAL SIZE OF AN ENDOWMENT?
An endowment should be four times an organization’s
annual budget. The Seattle Symphony’s endowment
needs to grow!
To learn more about the Endowment, please contact Becky Kowals at becky.kowals@seattlesymphony.org or 206.215.4852.
Bret Marquardt and Gerald Nelms
Frank and Judith Marshall Foundation
Ken and Robin Martin
Diane Mayer
Bill and Colleen McAleer 10
Drs. Pamela and Donald Mitchell 15
Chie Mitsui 5
Ms. Mary Ellen Mulder
Leone Murphy 10
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Jerald E. Olson 15
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Lourdes M. Orive
Path Forward Leadership Development 5
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Rosemary Peterson
Hera Phung 5
Marcus Phung 5
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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
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Nancy M. Robinson 15
Sharon Robinson 5
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Thomas and Collette Schick 10
Eckhard Schipull 10
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Tanya and Gerry Seligman 5
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Jon Shirley and Kim Richter
Janice and Brad Silverberg
Evelyn Simpson 15
Christopher Snow 5
Isabel and Herb Stusser 10
Mr. and Mrs. C. Rhea Thompson 5
Kirsten and Bayan Towfiq o 5
Betty Lou and Irwin* Treiger ^ 15
John and Fran Weiss 15
Cliff Burrows and Anna White 5
Wayne Wisehart
Woodworth, Charleson Charitable Fund
Keith Yedlin
Debbie and Rick Zajicek
Kay H. Zatine 15
Karen J. Zimmer
Christian and Joyce Zobel 5
Anonymous (15)
Musicians Club ($1,000 – $1,999)
Abel Family Fund
Mr. and Mrs. Chris Ackerley
William K. Ahrens 15
Ignacio Alvarado-Cummings
Mr. and Mrs. John Amaya 5
Jennifer Ament
Carlton and Grace Anderson 5
Larry Harris and Betty Azar 15
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Linda Betts 10
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April Cameron 5
Karen Cameron
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Carol and John Austenfeld Charitable Trust 5
Dan Carollo
Trish Carpenter
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Emily Carroll 5
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Anand Chakraborty
Ying Chang
Kent and Barbara Chaplin 10
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Jacqueline B. Coffroth Fund of the Sacramento
Regional Community Foundation
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Donald and Ann Connolly
Peter and Lori Constable
The Honorable Dow Constantine and
Ms. Shirley Carlson
Herb and Kathe Cook 5
Bob and Jane Cremin
Joseph Crnko and Wendee Wieking 
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Robert Darling
Tatiana Davidson 5
Angela de Oliveira 5
Calisle Dean
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Lyle Deobald and Jessie Kim-Deobald
Dr. Stella Desyatnikova
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Betsy Donworth
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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 5
Raylene B. Ewing
Randi Fatizzi
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Maria Ferrer Murdock
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Gerard Fischer
Patty Fleischmann
Barry and JoAnn Forman
Paula Fortier
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 + 5
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
Bruce Haldane
Mary Stewart Hall 10
James and Darlene Halverson
Darren Hamby
Dr. and Mrs. James M. Hanson 5
Karin and Frederic Harder
Ken and Cathi Hatch ^
Brian Hawksford and Steve Crandall
Ms. Jill Heerensperger
Dr. and Mrs. Robert M. Hegstrom 5
Cheryl Hoffman Herzog and Mathias Herzog
Alice and Paul Hill
Suzanne Hittman
Bob Hoelzen
Candyce Hogan
Norm Hollingshead 5
Bob Holtz and Cricket Morgan 5
Mrs. Susanne F. Hubbach 15
Gretchen and Lyman* Hull 15
Sara Hurley
Richard and Roberta Hyman
Ralph E. Jackson 15
Mr. and Mrs. Jerry Janacek
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 and Ciara Jordan
Zagloul Kadah
Gretchen Kah 5
Suzanne and Steve Kalish
Glenn Kawasaki
Janet L. Kennedy
Michael and Mary Killien 15
Andrew Kim
Hyeok Kim
Karol King 5
Virginia King 5
Carolyn and Robert Kitchell
W. M. Kleinenbroich
Vera Koch
Maryann and Tom Kofler
Allan and Mary Kollar
Becky Kowals and Max Rose +
Mr. Gary Kretzschmar
Tatyana Kutsy
Eric Lam5
Bradley Lamb
Ron and Carolyn Langford 15
Peter M. Lara 10
Dr. Gordon D. LaZerte 5
Gregory and Mary Leach 15
Kathleen Leahy 10
Virginia and Brian Lenker 10
Don and Carla Lewis 5
Erica Lewis and Richard Erickson, Seed Fund of
Greater St Louis Community Foundation
James Light 5
Jason Lin
Lisa Lindell 5
Michael Linenberger and Sallie Dacey
Robert and Marylynn Littauer 5
Eric Liu and Jena Cane
Sharon Lott
Lovett-Rolfe Family Trust
Susan and Jeff Lubetkin
Richard* and Beverly Luce 15
Alison and James Luckman
Roy and Laura Lundgren
Bryan Lung
Douglas MacDonald and Lynda Mapes
Keitaro Machida
Mary Ann and Ted Mandelkorn
Elliot Margul
Mark Litt Family DAF of the Jewish Federation of
Greater Seattle 5
Anne and Karl Marlantes
Pat and Tony Marshall 5
David and Sally Maryatt
Marcia Mason
Charles T. Massie 10
Carolyn and Richard Mattern 10
David Mattson
Florence and Charlie Mayne
Doug and Joyce McCallum
Mary Kay McCaw
Elizabeth McConnell
Dr. and Mrs. Paul McCullough
Ashley McDougall
Hughes and Kelley McLaughlin
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
Gary Moresky
Susan and Furman Moseley
Christine B. Moss 15
Donald and Shirley Mottaz 5
Mika Nakamura
Mr. and Mrs. J. P. Naughton 15
Paul Neal and Steven Hamilton
Mrs. Dianne Nelson
Robert and Claudia Nelson
Kirsten Nesholm
Marilyn Newland 5
Paul and Linda Niebanck
Eric Noreen and Suzi Hill
Sharon L. Norris
Craig Norton and John French 5
Mark and Sally Onetto
Gordon Orians 10
Geneva R. Osburn 5
Meg Owen 5
David and Gina Pankowski
Richard and Sally Parks
Allan and Jane Paulson 5
Nancy and Christopher Perks 10
Perspectives of New Music
Lisa Peters and James Hattori
Stewart Phelps
Don and Sue Phillips
Stephen Phinny
Tom and Brooke Pigott
Prairie Foundation
Lori and Bill Price
Lucy and Herb Pruzan 5
Harry* and Ann Pryde
Ann Ramsay-Jenkins
Richard and Sharon Reuter 15
Jean A. Rhodes 5
Fred Richard 15
John Richardson II 5
Deborah and Andrew Rimkus 5
Heidi Riney
Jean A. Robbins 10
Mike Robinson
Helen Rodgers 15
Jack Rodman and Koh Shimizu
Ken Rogers
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
Matthew Salisbury
Sara Delano Redmond Fund
Dr. and Mrs. Jason Schneier 5
Mr. and Mrs. Joseph Schocken
Judith Schoenecker and Christopher L. Myers 5
Susan Schroeter-Stokes and Robert Stokes 5
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
58
SEATTLESYMPHONY.ORG
Janet Sears 10
Janet and Thomas Seery 10
Leslie J. Shank
Linda Sheely 15
Charles Shipley 15
Dr. Charles Simrell and Deborah Giles 10
Jill Singh
Douglas Smith and Stephanie Ellis-Smith
Joan Smith
Stephen and Susan Smith
Harry Snyder
Scott and Lorna Soules
John Spear
Doug and Katie Sprugel 5
Donald and Sharalyn Stabbert
Dr. and Mrs. Robert Stagman 15
Stella Stamenova
Stephanie Standifer
Lee and Elizabeth Stanton
Carrol Steedman
Craig and Sheila Sternberg
Steve and Sandy Hill Family Fund at the Seattle
Foundation 15
Diane Stevens 5
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
Dolores Uhlman 15
Arthur and Patricia Upham
Manijeh Vail 5
Mark Valliere
Mr. Leo van Dorp 5
Gretchen Van Meter 15
Johanna P. VanStempvoort 15
Mary Lou and Dirk van Woerden
Donald J. Verfurth
Robert and Lisa Wahbe
Doug* and Maggie Walker 5
Stephanie Wallach
Judith F. Warshal and Wade Sowers 15
Ralph and Virginia Wedgwood 15
Norma Wells 5
Ed and Pat Werner
Judith A. Whetzel 5
Roger and June Whitson
Michelle Whitten
Mitch Wilk
Michael Winter
Jeff Wood and Diane Summerhays
Jessie and David Woolley-Wilson
Troy and Elizabeth Wormsbecker
Jerry and Nancy Worsham 10
Richard and Barbara Wortley 5
Carol Wright
Esther Wu
Matt Yang
Lee and Barbara Yates 15
Mrs. Sarah Yeager 5
Mr. Rocky Yeh
Maeng-Soon Yu 10
Igor Zverev 15
Anonymous (19)
5 years of consecutive giving
10
10 years of consecutive giving
15
15 years or more of consecutive giving

Musician
o
Board Member
^
Lifetime Director
Æ
Staff
* In Memoriam
5
To our entire donor family, thank you for your
support. You make our mission and music a reality.
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
Amy Sidell
Phillip Soth
Ida L. Warren
Elizabeth B. Wheelwright
HONORARIUM GIFTS
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
March 1, 2015 and March 28, 2016. 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.
Afman, by
Varun Chhabra and Natasha Gupta
Claire Angel, by
Lyn and Gerald Grinstein
Mikal and Lynn Thomsen
Jared Baeten and Mark Ruffo, by
Eugene Brown
Efe Baltacigil, by
Patricia and Jon Rosen
Becky Benaroya, by
Harold Matzner
Beverly Schoenfeld
Jane and John Bradfute, by
Nora and Myron MacDonald
Michael Brown, by
Norm Hollingshead
Stella Chernyak, by
David Gaglione
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
Will Dixon and Jay Picard, by
David Gaglione
Zart Dombourian-Eby, by
Ms. Marilyn E. Garner
Emily Evans, by
Ellen Hope
Dr. Daniel Feller, by
Jeffrey Girardin
Jonas Flueckiger, by
Shon Schmidt
Bernice Rind, by
Bob and Clodagh Ash
Howard Moss and Pauline Shapiro
David and Julie Peha
Kay Zatine
Arie Schächter, by
S. Andrew Schulman and Elizabeth K. Maurer
Elle Simon
Seattle Symphony Volunteers, by
Ken Abramson and Helen Santibanez
Peggy Spencer, by
Nancy McConnell
Betsy and Gary Spiess, by
Ling Chinn
Michael Upchurch, by
Norm Hollingshead
Nancy Page Griffin, by
Mina Miller and David Sabritt
Michael Schick and Katherine Hanson
Alexander Velinzon, by
Nancy McConnell
Megan Hall, by
Samantha DeLuna
Karla Waterman, by
Kay H. Zatine
Patty Hall, by
Michael and Kelly Hershey
Michael Werner, by
Norm Hollingshead
Glen and Ann Hiner, by
Eugene Leibowitz
Kathleen Wright and Martin Greene, by
Joel Paisner
Joyce and Helen, by
Barbara Frederick
Karneia, by
Allen R. Schwerer
Jessica Kenney, by
Norm Hollingshead
Sherri King, by
Vince Koester
Pekka Kuusisto, by
Norm Hollingshead
Zhenlun Li, by
Esther Wu
Kjristine Lund, by
Douglas MacDonald
Hayley Lyons, by
Sue Lyons
Pat Marshall, by
John and Laurel Nesholm
Ludovic Morlot and the Seattle Symphony, by
Norm Hollingshead
Nu.Mu.Zu, by
Scott Siken
The Oboe Section, by
Mark Linsey and Janis Traven
Sue and Tom Raschella’s
50th Wedding Anniversary, by
Bob and Clodagh Ash
Jennifer Connors
Jeffrey Phillippe
John Phillippe
Jon Rosen, by
Joe and Linda Berkson
Pat Rosen’s Birthday, by
Natalie Gendler
Marcia and Mike Wiviott
Julie Wotruba, by
David Gaglione
MEMORIAL GIFTS
Gifts were made to the Seattle Symphony to
remember those listed below between March 1, 2015
and March 28, 2016. 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.
Jane and Don Abel, by
The Abel Family Fund
David Anderson, by
Julie L. Antle-Anderson
Arval, by
Dr. L. Newell
Zygmunt F. Baczewski, by
Philip Baczewski
Joanne and Larry Gibson
Jack Benaroya, by
Donald Benedict, by
Dr. Charles Higbee
Gertrude Bergseth, by
Constance Trowbridge
Bev Bright, by
Rita Gray
Joan Burnett, by
Toby Burnett
Kathryn G. Cavin, by
James Cavin
Annette Chajes, by
David Loring
Lydia Christofides, by
Gerald B. Folland
Donna Cieszynski, by
David and MD Cieszynski
Dr. Alexander Clowes, by
Charles Alpers and Ingrid Peterson
Bob and Clodagh Ash
Dr. and Mrs. Forrest Bennett
Mardi and Frank Bowles
Butler’s Hole Fund
Barbara A. Cahill
Drs. Lihua Chen and Yihua Xiong
Dr. Susan Detweiler
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
Susan Pazina
Melvyn and Rosalind Poll
Sue and Tom Raschella
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
Ken Shapero and Dianne Aprile
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
Martha Donworth, by
Christine Marshall
Gretchen Faulstich, by
Cheryl and Gary Lundgren
Eugene Fisher, by
Gayden F. Carruth
Cascade Designs, Inc.
Donald Isle Foster, by
Karen Laband
William Gerberding, by
Mr. and Mrs. David L. Fluke
Llewelyn G. and Joan Ashby Pritchard
Booker T. Gibson, by
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
SEATTLE SYMPH ONY
DONORS
I GIVE...
Bertram H. Hambleton, by
Ginger Campopiano
Jill Palmer
Virginia Park
Jeanne Martinelli Hansen, by
Kirsti Dunn
“In loving
memory of
my junior
high school
music
teacher
who taught
me to love
classical
music
and the
imperative
of arts
education.”
-Jon R.
La Eta Heath, by
Merlyn A. Nellist, by
Donna Nellist
Robert Thorson, by
Leone Murphy
Victoria Phillips, by
Dorothy and Mark Ghaly
Vera Rosen, by
Steven and Kay Frank
Don Thulean, by
Todd Gordon and Susan Feder
Jennifer Schwartz
Sam and Gladys Rubinstein, by
Katie Tyson, by
Elizabeth Faubell
Herman Sarkowsky, by
Frank Veninga, by
Walter Schoenfeld, by
B. K. Walton, by
Penelope Yonge
Allen Senear, by
Richard Yarington, by
Yoko Barnett
Robert E. Clapp
Barbara McHarg
Cheryl Jefford
Charles and Joan Johnson
Margaret Kiyohara
MJo
Bill Hirschfeld, by
Marjorie J. Levar
Phyllis Stern
Mrs. G. B. Hotchkiss, Jr., by
Mary A. Hotchkiss
Suzanne Hutchinson, by
Ron Johnson, by
Mark McCampbell
Betty Winfield and Barry Hyman
Susanne Kellar, by
Marcy Krueger, by
Amanda Budde-Sung
Carolyn and Leroy Lewis, by
Ginny Meisenbach, by
John J. and Gertrude M. Rangstrom, by
Jon Fourre
Amy Sidell, by
SEATTLESYMPHONY.ORG
Sam and Althea Stroum, by
Ruth E. Morrow, by
Ruth Johnson
Russell P. Herwig, by
Ms. Karen Osmola
Julia Shaw, by
Bob and Clodagh Ash
60
Richard Spangler, by
Rev. Ben and Cheryl Keckler
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
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
Harriet and Bill Shank, by
Leslie Shank
SEATTLE SYMPHONY.ORG/GIVE
Nancy Simek, by
William and Janice Etzold
John L. Voorhees
SEATTLE SYMPHONY / BENAROYA HALL ADMINISTRATIVE STAFF
SENIOR MANAGEMENT TEAM
Simon Woods
President & CEO
Leslie Jackson Chihuly Chair
Charlie Wade
Senior Vice President of Marketing
& Business Operations
Jennifer Adair
Vice President & General Manager
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
Kristen NyQuist
Director of Board Relations
& Strategic Initiatives
Laura Reynolds
Director of Education & Community
Engagement
Pat VandenBroek
Director of Human Resources
EXECUTIVE OFFICE
Rachel Moore
Executive Assistant to the President & CEO and
Senior Vice President
ARTISTIC PLANNING
Paige Gilbert
Assistant Artistic Administrator
Rose Gear
Personal Assistant to the Music Director
Dmitriy Lipay
Director of Audio & Recording
ORCHESTRA & OPERATIONS
Kelly Woodhouse Boston
Director of Operations
Ana Hinz
Production Manager
Blaine Inafuku
Artist Services, Media & Chorale Manager
Scott Wilson
Personnel Manager
Keith Higgins
Assistant Personnel Manager
Patricia Takahashi-Blayney
Principal Librarian
Robert Olivia
Associate Librarian
Jeanne Case
Librarian
Joseph E. Cook
Technical Director
Mark Anderson, Jeff Lincoln
Assistant Technical Directors
Chris Dinon, Don Irving, Aaron
Gorseth, John Roberson, Michael
Schienbein, Ira Seigel
Stage Technicians
EDUCATION &
COMMUNITY ENGAGEMENT
Thomasina Schmitt, Kristin
Schneider, Becky Spiewak
Education & Community Engagement Managers
Katie Hovde
Education & Community Engagement
Coordinator
Jessica Andrews-Hall, Samantha
Bosch, Lena Console, Elizabeth
Curry, Sonya Harris, Jesse Harvey,
Aimee Hong, Rafael Howell,
Deven Inch, Shelby Leyland, Leslie
McMichael, Rebecca Morhlang,
Dana Staikides
Teaching Artists
DEVELOPMENT
Lauren Eastman, Zachary Kambour,
Christopher Mena
Discovery Coordinators
Marsha Wolf
Major Gift Officer
COMMUNICATIONS
You You Xia
Public Relations Manager
Heidi Staub
Editor & Publications Manager
Jim Holt
Digital Content Manager
Andrew Stiefel
Social Media & Content Manager
MARKETING
Christy Wood
Director of Marketing
Rachel Spain
Marketing Manager
Natalie Soules
Marketing Coordinator
Barry Lalonde
Director of Digital Products
Jason Huynh
Digital Marketing Manager
Herb Burke
Tessitura Manager
Jessica Forsythe
Art Director
Helen Hodges
Graphic Designer
Forrest Schofield
Group Services Manager
Joe Brock
Retail Manager
Christina Hajdu
Sales Associate
Brent Olsen
Ticket Sales Manager
Nina Cesarrato, Molly Gillette,
Maery Simmons
Ticket Office Coordinators
Mary Austin, Melissa Bryant,
Yasmina Ellis, Carla Moar, Mike
Obermeyer, Kyle Painter, Melanie
Voytovich, James Bean, CaraBeth
Wilson, Elizabeth Ylaya
Ticket Services Associates
VENUE ADMINISTRATION
Matt Laughlin
Senior Facility Sales Manager
James Frounfelter, Adam Moomey
Event & Operations Managers
Keith Godfrey
House Manager
Tanya Wanchena
Assistant House Manager & Usher Scheduler
Matt Marshall
Major Gift Officer (Campaign)
Allison Kunze
Development Officer (Campaign)
Becky Kowals
Director of Major Gifts and Planned Giving
Amy Bokanev, Nicholas Walls
Gift Officers
Jessica Lee
Development Coordinator (Major Gifts)
Paul Gjording
Senior Major Gift Officer
(Foundations & Government Relations)
Megan Hall
Annual Fund Senior Manager
Evan Cartwright
Data Operations Manager
Martin Johansson
Development Communications Manager
Zoe Funai
Data Entry Coordinator
Tami Horner
Senior Manager of Special Events
& Corporate Development
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
Rodney Kretzer
Facilities & Security Coordinator
HUMAN RESOURCES
Kathryn Osburn
Human Resources Generalist
Annalies Schuster
Front Desk Receptionist
Milicent Savage, Patrick Weigel
Assistant House Managers
Dawn Hathaway, Lynn Lambie, Mel
Longley, Ryan Marsh, Markus Rook,
Carol Zumbrunnen
Head Ushers
Everett Bowling, Veronica Boyer,
Evelyn Gershen
Assistant Head Ushers
Ron Hyder
Technical Coordinator
CONTACT US:
206.215.4747 / DONATIONS: 206.215.4832 / ADMINISTRATIVE OFFICES: 206.215.4700
VISIT US ONLINE: seattlesymphony.org / FEEDBACK: president@seattlesymphony.org
TICKETS:
EAP 1_3 V template.indd 1
4/28/16 9:12 AM
S EAT T L E SYMPHONY 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
March 28, 2016. 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*
Judith A. Fong
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
Peach Foundation
Estate of Elsbeth Pfeiffer
Estate of Elizabeth Richards
Jon and Judy Runstad
Estate of Joanne M. Schumacher
Weyerhaeuser Company
The William Randolph Hearst
Foundations
Estate of Helen L. Yeakel
Estate of Victoria Zablocki
Anonymous (3)
$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
MUSICAL LEGACY 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 March 28, 2016.
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. 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
Dr. Susan Detweiler and
Dr. Alexander Clowes*
Fred and Adele Drummond
Mildred King Dunn
Sandra W. Dyer
Ann R. Eddy
Gerald B. Folland
Judith A. Fong
Jack and Jan Forrest
62
SEATTLESYMPHONY.ORG
Russell and Nancy Fosmire
Ernest and Elizabeth Scott
Frankenberg
Cynthia L. Gallagher
Jane and Richard 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
Mary Fran and Harold Hill
Frank and Katie Holland
Chuck and Pat Holmes
Richard and Roberta Hyman
Janet Aldrich Jacobs
Robert C. Jenkins
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
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
Virginia and Allen* 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
Liz Stokes
Gayle and Jack Thompson
Dr. and Mrs. Arthur Torgerson
Betty Lou and Irwin* Treiger
Muriel Van Housen
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 (44)
* 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 March 28, 2016. 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
$10,000 – $14,999
Hotel Andra †
$1,000 – $2,999
Boeing Matching Gift Program
Acucela Inc.
A-1 Pianos
Christensen O’Connor Johnson
Kindness PLLC †
Angelo Consulting
Johnson & Johnson Matching
Gifts Program
Crimson Wine Group
◊
MacDonald Hoague & Bayless †
Clowes Fund, Inc.
Foster Pepper PLLC
Google Inc. †
Fran’s Chocolates ◊
KEXP †
Holland America Line
John Graham Foundation
Jean K. Lafromboise Foundation
Lakeside Industries
Milliman ◊
Music4Life †
Seattle Met Magazine †
Mayflower Park Hotel †
◊
Norman Archibald Foundation
Peoples Bank
$25,000 – $49,999
Perkins Coie LLP
Ann and Gordon Getty Foundation
Rosanna, Inc. †
Bank of America
Sheraton Seattle Hotel †
CTI BioPharma Corp.
Snoqualmie Tribe
Classic Pianos ◊
U.S. Bank Foundation
Classical King FM
◊
Key Bank
Washington Employers †
Encore Media Group †
Weill Music Institute †
Four Seasons Hotel †
Wild Ginger Restaurant †
Garvey Schubert Barer †
Anonymous
J.P. Morgan Chase & Co.
NAREIG
Nordstrom
Peg and Rick Young Foundation
Russell Family Foundation
Schwabe, Williamson & Wyatt
Skanska USA
Starbucks Coffee Company †
Topper’s European Floral Design †
Tulalip Tribes Charitable Fund
Vitalogy Foundation
Vitus Group
Von’s †
$3,000 – $4,999
Bank of America
Foundation Matching Gifts
Bill & Melinda Gates Foundation
Matching Gifts
Alfred & Tillie Shemanski Trust Fund
Bang & Olufsen
Barghausen Consulting Engineers, Inc.
Blanke Foundation
DreamBox Learning
Eaton Vance
Everyhome
Fales Foundation
Garden Conservancy
Genworth Foundation
Glazer’s Camera †
Hard Rock Cafe Seattle †
IBM International Foundation
Inn at the Market †
KAN Orchids & Flowers †
Kells Irish Restaurant & Pub †
National Frozen Foods Corporation
Pacific Coast Feather Co.
Peo Tours, Inc.
Sam and Peggy Grossman Family
Foundation
Mercer †
$5,000 – $9,999
Microsoft Matching Gifts
Brandon Patoc Photography †
Accountemps †
Russell Investments
The Capital Grille †
Amphion Foundation
Seattle Foundation
Clark Nuber, PS
Apex Foundation
Sheri and Les Biller Family Foundation
Community Attributes †
Audio Visual Factory †
Wells Fargo Private Bank
Motif Hotel †
Barnard Griffin Winery †
Nintendo of America, Inc.
Bellevue Children’s Academy
$15,000 – $24,999
The PONCHO Foundation
The Benaroya Company
Thurston Charitable Foundation
Aaron Copland Fund For Music
Bessemer Trust
Wyman Youth Trust
Ann and Gordon Getty Foundation and
the League of American Orchestras
Brown Bear Car Wash
† In-Kind Support
Chihuly Garden + Glass
◊
Chihuly Studio †
Coca-Cola Company Matching Gifts
Elizabeth McGraw Foundation
Talking Rain †
Touchstone Group at Morgan Stanley
UBS Employee Giving Programs
UniBank
United Health Care
Wilson Sonsini Goodrich
& Rosati Foundation
Financial and In-Kind Support
Crimson Wine Group
D.V. & Ida McEachern Charitable Trust
Finlandia Foundation National
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.
PARKING: You may purchase prepaid parking
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.
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.
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.
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
DOCTOR IN THE HOUSE: Virginia Mason
Medical Center physicians frequently attend
Seattle Symphony performances and are ready
to assist with any medical problems that arise.
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.
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.
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.
SEATTLESYMPHONY.ORG
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.
OPENING NIGHT GALA, SEPTEMBER 19, 2015
Honoring Ann P. Wyckoff
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
Betty Tong
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.
DINING AT BENAROYA HALL
64
SEATTLE SYMPHONY
SPECIAL EVENTS
SPONSORS &
COMMITTEES
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
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 14, 2016
Co-Founder and Executive Director
COMMITTEE
Rosanna Bowles
Cheri Brennan
Tom Horsley
Judith Fong
Nader Kabbani
Ben Klinger
Ghizlane Morlot
Carla Nichols
Stephanie White
Jessie Woolley-Wilson
Barbara Wortley
CLUB LUDO, JUNE 18, 2016
PRESENTING SPONSOR
CTI BioPharma
CO-CHAIRS
Ryan Mitrovich
Tiffany Moss
COMMITTEE
Mary Bass
Eric Berlinberg
Chris Beza
Eric Jacobs
Erik Jensen
David Johnson
Matt Marshall
Liz McConnell
Talia Silveri
Angela Wapner
Grace Yoo
NOMINATIONS OPEN
FOR THE
MAYOR’S
ARTS AWARDS
CULTURAL
AMBASSADOR
ARTS &
INNOVATION
PHILANTHROPY
LEGACY
NOMINATIONS OPEN MAY 9-31 AT SEATTLE.GOV/ARTS
SAVE THE DATE FOR THE MAYOR’S ARTS AWARDS FRIDAY, SEPT 2
THE LIS(Z)T
SEEN & HEARD @ THE SEATTLE SYMPHONY
seattlesymphony.org/liszt
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[UNTITLED] 2
On February 5 the Seattle Symphony honored the art and
influence of Robert Rauschenberg. Sponsored by the Bagley
and Virginia Wright Foundation, the [untitled] 2 concert featured
the world premiere of Christian Wolff’s For Bob II, dedicated
to Rauschenberg, whose mural Echo adorns the Samuel &
Althea Stroum Grand Lobby, the setting for these late-night
performances. The concert also included music by fellow
“New York School” artists, Morton Feldman, Earle Brown
and John Cage.
Prior to the concert Virginia Wright hosted an event celebrating
the evening’s premiere by Christian Wolff, who was also in
attendance, and the longstanding connection between the
Wright family and the Symphony. Christopher Rauschenberg,
the son of the late Robert Rauschenberg, and local author Tom
Robbins also spoke about the impact the Wrights have had on
artists like Rauschenberg, and on the Seattle arts community. In
his remarks, Robbins summed up the evening:
“As our Seattle Symphony presents its musical homage to an
important visual artist, many in the hall will be conscious that
it will also be a salute to the cultural eminence that is Virginia
Wright — and simultaneously to its own orchestra self: for
its adventurous spirit, its courage, its vision and its verve. A
visionary artist, a visionary patron, a visionary symphony: as the
bard Bob Dylan once sang, ‘We can’t help it if we’re lucky.’”
PHOTOS: 1 Moshe Dunie 2 Author Tom Robbins, Virginia Wright and Christopher Rauschenberg 3 Ann P. Wyckoff and Board member Nancy Evans 4 Senator
Maria Cantwell, composer Christian Wolff and Vice President of Artistic Planning Elena Dubinets 5 Robert Rauschenberg’s Echo, commissioned by Bagley and Virginia
Wright for the opening of Benaroya Hall, adorns the entrance to the S. Mark Taper Foundation Auditorium 6 Patrons fill the Samuel & Althea Stroum Grand Lobby to
experience [untitled] 2 Photos by Brandon Patoc
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