seattle symphony october-2015 encore arts...
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LANG LANG PLAYS GRIEG’S PIANO CONCERTO
SONIC EVOLUTION WITH BILL FRISELL
SHAPRECE & ROOSEVELT HIGH SCHOOL
JAZZ BAND
SEATTLE POPS: RHAPSODY
IN BLUE
OCTOBER 2015
IN THIS ISSUE
client
job
due date
pdf date
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publication
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212.229.0009
www.glossstudio.com
2015-09-04
107552
Laird and Partners
Encore
8.375 x 10.875
REL16_BRSP15OC_ADV-Print_Encore_Seattle_BC_107552_REL16_v1.pdf
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4 / CALENDAR
Plan your next visit
6 / THE ORCHESTRA
Meet the musicians
8 / NOTES
See what’s new at the
Seattle Symphony
10 / FEATURES
A Musical Migration
The Inextinguishable Nielsen
17 / CONCERTS
Learn about the music
you’re here to hear
62 / GUIDE Information on Benaroya Hall
63 / THE LIS(Z)T
Seen and heard at the
Seattle Symphony
IN THIS ISSUE
ON THE COVER: Lang Lang by
Harald Hoffmann
AT LEFT: Vilde Frang by Marco
Borggreve
EDITOR: Heidi Staub
COVER DESIGN: Helen Hodges
© 2015–2016 Seattle Symphony. All rights reserved. No portion of this work may be reproduced in any form or by any electronic or mechanical means without written permission from the Seattle Symphony. All programs and artists are subject to change.
OCTOBER 2015
encoreartsseattle.com 3
CALENDARON 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
October & November
SUNDAY MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY SATURDAY
4 5 6 7 8 9 10
11 12 13 14 15 16 17
18 19 20 21 22 23 24
25 26 27 28 29 30 31
1 2 3 4 5 6 7
8 9 10 11 12 13 14
15 16 17 18 19 20 21
22 23 24 25 26 27 28
29 30
OCTOBER
2pm Brahms Symphony No. 3
7:30pm Live @ Benaroya Hall: The Gloaming
7:30pm Seattle Arts & Lectures presents Elizabeth Gilbert
7:30pm Strauss Zarathustra
10:30am Tiny Tots: Folk and Fiddlin’ Time
7:30pm Atlantic Street Center presents “Raise It Up” Fundraising Concert
9:30, 10:30 & 11:30am Tiny Tots: Folk and Fiddlin’ Time
7pm KMA: Autumn Concert
8pm Strauss Zarathustra
2pm Lang Lang with the Seattle Symphony
8pm Earshot Jazz & 88.5 KPLU present Wayne Shorter Quartet
7:30pm Sir András Schiff: The Last Sonatas
7:30pm Live @ Benaroya Hall: Roger McGuinn
10am Donor Open Rehearsal*
7:30pm Northwest Sinfonietta: Mozart & Beethoven
8pm Gershwin Rhapsody in Blue
1 & 4:45pm Seattle International Piano Festival & Competition
8pm Gershwin Rhapsody in Blue
2pm Gershwin Rhapsody in Blue
3pm Seattle International Piano Festival & Competition
7:30pm Iveta Apkalna
8pm Live @ Benaroya Hall: The Zombies—Odessey & Oracle: The Odyssey Continues…
7:30pm Beethoven Piano Concerto No. 17:30pm The Angel Band Project presents One Voice Benefit Concert
10am Donor Onstage Rehearsal*
8pm Live @ Benaroya Hall: Dar Williams
10pm [untitled] 1
2pm Seattle Philharmonic Orchestra
7:30pm Ensign Symphony & Chorus
2pm Beethoven Piano Concerto No. 1
7:30pm Bernstein & Shostakovich
7:30pm Sonic Evolution: Under the Influence
8pm Hitchcock Psycho with the Seattle Symphony
11am Family Concert: Phantoms of the Orchestra
8pm Hitchcock Psycho with the Seattle Symphony
NOVEMBER 2pm National Geographic Live — Into Africa’s Okavango
7pm Byron Schenkman & Friends
7:30pm National Geographic Live — Into Africa’s Okavango
7:30pm Live @ Benaroya Hall: Motion Trio
7:30pm National Geographic Live — Into Africa’s Okavango
7:30pm Brahms Violin Concerto
12pm Brahms Violin Concerto
8pm CRP & LUMA present FIRELIGHT w/ Mateo Messina
2pm Burmer Music presents Origins
7:30pm Seattle Repertory Jazz Orchestra presents Lush Life
8pm Brahms Violin Concerto
2pm Jean-Yves Thibaudet3pm Music of Remembrance 7pm Hedgebrook & Elliott Bay Book Co. present Gloria Steinem
7:30pm Bruch Violin Concerto No. 1
7pm Bruch Untuxed
7:30pm Northwest Sinfonietta: Verdi & Schubert
7:30pm Seattle Classic Guitar Society presents Duo Melis
8pm Bruch Violin Concerto No. 1
7:30pm NWAA and The Stranger present An Evening with David Sedaris
5:30pm AIA Seattle: 2015 Honor Awards for Washington Architecture
1pm Donor Open Rehearsal and Discussion*
7:30pm Seattle Arts & Lectures presents Anthony Doerr
7:30pm Mahler Ten 8pm Live @ Benaroya Hall: Casa Patas — Flamenco Frecuencies
2 & 8pm Live @ Benaroya Hall: Casa Patas — Flamenco Frecuencies
8pm Mahler Ten
2pm Mahler Ten
3pm Seattle Chinese Orchestra: When the Dragon Meets the Eagle
7pm EWU Encanto Holiday Concert
LEGEND: Seattle Symphony Events Benaroya Hall Events *Donor Events: Call 206.215.4832 for more information
7:30pm Live @ Benaroya Hall: Big Bad Voodoo Daddy
Photo credit: Lang Lang by Xun Chi
LANG LANG
PSYCHO
GUSTAV MAHLER
SSO015-CAL-Oct-Nov.indd 1 9/23/15 8:39 AM
4 SEATTLESYMPHONY.ORG
HOW TO ORDER:TICKET OFFICE:
The Seattle Symphony Ticket Office is located
at Third Ave. & Union St., downtown Seattle.
HOURS: Mon–Fri, 10am–6pm; Sat, 1–6pm;
and two hours prior to performances and
through intermission.
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.
MAILING ADDRESS:
P.O. Box 2108, Seattle, WA 98111-2108
HOW TO GIVE:Did you know that about half of the annual revenue
needed to put on the concerts you love comes from
gifts made by donors, sponsors and special events?
Here’s how you can support the Seattle Symphony.
ONLINE:
seattlesymphony.org/give
INDIVIDUALS:
206.215.4832
friends@seattlesymphony.org
CORPORATIONS:
206.215.4721
corporatesponsorship@seattlesymphony.org
FOUNDATIONS:
206.215.4838
foundations@seattlesymphony.org
SPECIAL EVENTS:
206.215.4868
specialevents@seattlesymphony.org
PLANNED AND ESTATE GIVING:
206.215.4852
plannedgiving@seattlesymphony.org
MAILING ADDRESS:
P.O. Box 21906, Seattle, WA 98111-3906
CONNECT WITH US: facebook.com/seattlesymphony
twitter.com/seattlesymphony
instagram.com/seattlesymphony
seattlesymphony.org
encoreartsseattle.com 5
LUDOVIC MORLOT Harriet Overton Stimson Music Director
Thomas Dausgaard, Principal Guest Conductor
Jeff Tyzik, Principal Pops Conductor
Joseph Crnko, Associate Conductor for Choral Activities
Pablo Rus Broseta, Douglas F. King Assistant Conductor
Ruth Reinhardt, Conducting Fellow
Gerard Schwarz, Rebecca & Jack Benaroya Conductor Laureate
SEATTLE SYMPHONY ORCHESTRA ROSTER
FIRST VIOLIN
Open PositionDavid & Amy Fulton Concertmaster
Emma McGrathClowes Family Associate Concertmaster
Cordula MerksAssistant Concertmaster
Simon JamesSecond Assistant Concertmaster
Jennifer Bai
Mariel Bailey
Cecilia Poellein Buss
Ayako Gamo
Timothy Garland
Leonid Keylin
Mae Lin
Mikhail Shmidt
Clark Story
John Weller
Jeannie Wells Yablonsky
Arthur Zadinsky
SECOND VIOLIN
Elisa BarstonPrincipal Supported by Jean E. McTavish
Michael MiropolskyJohn & 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 AssadiPONCHO Principal Viola
Arie SchächterAssistant Principal
Mara Gearman
Timothy Hale
Vincent Comer
Penelope Crane
Wesley Anderson Dyring
Sayaka Kokubo
Rachel Swerdlow
Julie Whitton
CELLO
Efe BaltacıgilMarks Family Foundation Principal Cello
Meeka Quan DiLorenzoAssistant Principal
Eric Han
Bruce Bailey
Roberta Hansen Downey
Walter Gray
Vivian Gu
Joy Payton-Stevens
David Sabee
BASS
Jordan AndersonMr. & Mrs. Harold H. Heath Principal String Bass
Joseph KaufmanAssistant Principal
Ted Botsford
Jonathan Burnstein
Jennifer Godfrey
Travis Gore
Jonathan Green
FLUTE
Open PositionPrincipal Supported by David J. and Shelley Hovind
Judy Washburn Kriewall
Zartouhi Dombourian-Eby
PICCOLO
Zartouhi Dombourian-EbyRobert & Clodagh Ash Piccolo
OBOE
Mary LynchPrincipal
Ben HausmannAssociate Principal
Chengwen Winnie Lai
Stefan Farkas
ENGLISH HORN
Stefan Farkas
CLARINET
Benjamin LulichMr. & Mrs. Paul R. Smith Principal Clarinet
Laura DeLuca
Eric Jacobs
E-FLAT CLARINET
Laura DeLuca
BASS CLARINET
Eric Jacobs
BASSOON
Seth KrimskyPrincipal
Paul Rafanelli
Mike Gamburg
CONTRABASSOON
Mike Gamburg
HORN
Jeffrey FairCharles Simonyi Principal Horn
Mark RobbinsAssociate Principal
Adam Iascone
John Turman
Cara Kizer*
TRUMPET
David GordonThe Boeing Company Principal Trumpet
Alexander WhiteAssistant Principal
Geoffrey Bergler
TROMBONE
Ko-ichiro YamamotoPrincipal
David Lawrence Ritt
Stephen Fissel
BASS TROMBONE
Stephen Fissel
TUBA
Christopher OlkaPrincipal
TIMPANI
Michael CrusoePrincipal
PERCUSSION
Michael A. WernerPrincipal
Michael Clark
HARP
Valerie Muzzolini GordonPrincipal
KEYBOARD
Kimberly Russ, piano +Joseph Adam, organ +
PERSONNEL MANAGER
Scott Wilson
ASSISTANT PERSONNEL MANAGER
Keith Higgins
LIBRARY
Patricia Takahashi-BlayneyPrincipal Librarian
Robert OliviaAssociate Librarian
Rachel SwerdlowAssistant Librarian
TECHNICAL DIRECTORJoseph E. Cook
ARTIST IN ASSOCIATIONDale Chihuly
MUSIC ALIVE COMPOSER IN RESIDENCETrimpin
HONORARY MEMBERCyril M. Harris †
+ Resident
* Temporary Musician for 2015–2016 Season
† In Memoriam
WWW.TOWNHALLSEATTLE.ORG
single tickets $20 advance/$25 at the door$20 seniors/$17 Town Hall members/$10 students
DISCOUNT SUBSCRIPTIONS AVAILABLE
TOWNMUSICJOSHUA ROMAN, ARTISTIC DIRECTOR
November 4, 2015LISA BIELAWA AND ENSEMBLE VARIANCESCROSS-CULTURAL COLLABORATION BETWEEN FRANCE’S THIERRY PÉCOU AND AMERICAN LISA BIELAWA
February 25, 2016Town Hall and Seattle Arts & Lectures present
'we do it to one another,' POETRY&PERFORMANCEA WEST COAST PREMIEREFEAT. PULITZER PRIZE-WINNER TRACY K. SMITH,COMPOSED AND CONDUCTED BY JOSHUA ROMAN, AND PERFORMED BY JESSICA RIVERA
May 24, 2016
KAREN GOMYO, ARNAUD SUSSMAN,KYLE ARMBRUST, AND JOSHUA ROMANHAND-PICKED STRING QUARTET AND THE PREMIERE OF 2016’S TOWN HALL COMISSION
6 SEATTLESYMPHONY.ORG
LUDOVIC MORLOT SEATTLE SYMPHONY MUSIC DIRECTOR
Phot
o: S
ussie
Ahl
burg
French conductor Ludovic
Morlot is in his fifth season
as Music Director of the
Seattle Symphony. There
have been many highlights
during his first four seasons
in this position, including an
exhilarating performance
at Carnegie Hall in May
2014, as reported in The New York Times: “The
performance Mr. Morlot
coaxed from his players was
rich with shimmering colors
and tremulous energy.”
During the 2015–2016 season he leads the Seattle Symphony in
a wide variety of works including the launch of a two-year cycle
of Beethoven symphonies and piano concertos; Berio’s Sinfonia
featuring vocal ensemble Roomful of Teeth; Messiaen’s Poèmes pour Mi; Shostakovich’s Symphony No. 4; Mahler’s Symphony
No. 1; and Fauré’s Requiem. Complemented by the Seattle
Symphony’s highly innovative series, Untuxed and [untitled], this
season will also see the release of several more recordings on
the Orchestra’s label, Seattle Symphony Media.
Morlot was also Chief Conductor of La Monnaie, one of Europe’s
most prestigious opera houses, for three years (2012–2014).
During this time he conducted several new productions
including La Clemenza di Tito, Jenufa and Pelléas et Mélisande.
Concert performances, both in Brussels and Aix-en-Provence,
included repertoire by Beethoven, Britten, Bruneau, Stravinsky
and Webern.
Trained as a violinist, Morlot studied conducting at the Royal
Academy of Music in London and then at the Royal College
of Music as recipient of the Norman del Mar Conducting
Fellowship. Morlot was elected a Fellow of the Royal Academy
of Music in 2014 in recognition of his significant contribution
to music. He is Chair of Orchestral Conducting Studies at the
University of Washington School of Music and lives in Seattle
with his wife, Ghizlane, and their two children.
SEATTLE SYMPHONY BOARD OF DIRECTORS
DIRECTORS
Rebecca Layman Amato
Claire Angel
Sherry Benaroya
James Bianco
Rosanna Bowles
Renée Brisbois
Paul Brown
Amy Buhrig
Jean Chamberlin
Larry Estrada
Nancy Evans
Kathy Fahlman Dewalt
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
SoYoung Kwon
Ned Laird*
Jeff Lehman*
Dawn Lepore
Eric Liu
Brian Marks*
Catherine Mayer
Cookie Neil
Laurel Nesholm*
Sheila Noonan
Jay Picard
Bayan Towfiq
Nicole Vogel
Stephen Whyte*
DESIGNEES
Robin Denis President, Seattle Symphony Chorale
Ryan Douglas President, WolfGang Advisory Council
Richard Mori President, Seattle Symphony Volunteers
Kathleen Boyer Orchestra Representative
Zartouhi Dombourian-Eby Orchestra Representative
LIFETIME DIRECTORS
Llewelyn PritchardChair
Richard Albrecht
Susan Armstrong
Robert Ash
William Bain
Bruce Baker
Cynthia Bayley
Alexandra Brookshire
Phyllis Byrdwell
Phyllis Campbell
Mary Ann Champion
Robert Collett
David Davis
Dorothy Fluke
David Fulton
Jean Gardner
Ruth Gerberding
James Gillick
Barbara Goesling
Gerald Grinstein
Bert Hambleton
Cathi Hatch
Ken Hollingsworth
Pat Holmes
David Hovind
Henry James
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
Marcus Tsutakawa
Cyrus Vance, Jr.
Karla Waterman
Ronald Woodard
Arlene Wright
SEATTLE SYMPHONY FOUNDATION BOARD OF DIRECTORS
Jean-François Heitz President
Kathleen Wright Vice President
Marco Abbruzzese Treasurer
Michael Slonski Secretary
James Bianco
Brian Grant
Muriel Van Housen
J. Pierre Loebel
Laurel Nesholm
David Tan
Rick White
* Executive Committee Member
LESLIE JACKSON CHIHULY, Chair*
Jon Rosen Secretary*
Marco Abbruzzese Treasurer*
Kjristine Lund Vice Chair, Audiences & Communities*
Woody Hertzog Vice Chair, Development*
Dick Paul Vice Chair, Governance*
Michael Slonski Vice Chair, Finance*
NED LAIRD, President Mark Reddington, Vice President
Nancy B. Evans, Secretary
Michael Slonski, Treasurer
Alexandra A. Brookshire
Dwight Dively
Zartouhi Dombourian-Eby
Jim Duncan
Richard Hedreen
Fred Podesta
Leo van Dorp
Simon Woods
H.S. Wright III
BENAROYA HALL BOARD OF DIRECTORS
encoreartsseattle.com 7
NOTA BENEFO(U)RTISSIMO! The Seattle Symphony thanks MCM for their generosity, and their belief
in the vital role that music plays in our community. This season marks the fourth year of
MCM’s Title Sponsorship of the Seattle Pops series. Thank you to the leadership and
employees of MCM for enriching the cultural landscape of Seattle through your steadfast
support!
AN OPENING NIGHT TO REMEMBER! A huge thank you to all the Opening Night Concert &
Gala attendees and sponsors who made this year’s kick-off event a resounding success!
Together you raised over $785,000 to empower tomorrow’s musicians through your
support of the Seattle Symphony’s education and community programs. Thank you!
{
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{Greetings, and welcome to Benaroya Hall.
Last month, we kicked off the 2015–2016 season with our first-ever Piano Competition. It was a huge pleasure to invite some of the world’s most promising pianists to Seattle as they performed and competed for the top prize. Congratulations to Juilliard student Kevin Ahfat, who won the First Prize of $10,000, among many other exciting prizes. He will be back next season for another performance with the Seattle
Symphony, and I’m excited to track his professional journey.
The Piano Competition is just one of the many ways we invest in future generations. On October 29 Roosevelt High School Jazz Band will take the stage with Seattle favorites, jazz guitarist Bill Frisell and vocalist Shaprece, for the next of our increasingly popular Sonic Evolution concerts. This is a unique opportunity for this award-winning group of teens to perform alongside professional musicians. The students will be performing in Derek Bermel’s Migration Series for Jazz Ensemble and Orchestra, which was inspired by visual artist Jacob Lawrence’s Migration Series. Bill Frisell’s improvisational skills will be highlighted in the world premiere of Wayne Horvitz’s Those Who Remain. Read more about the genesis of the music in this concert on pages 10–13.
Beyond mentoring future stars in the Piano Competition and giving high school musicians an experience to remember, we’re also committed to giving children very early exposure to classical music. October 31 is the first of four Classical KING FM Family Concerts this season, presenting Phantoms of the Orchestra, inspired by The Sorcerer’s Apprentice, a score made popular by the film Fantasia. Family Concerts are designed for ages 12 and under and always include pre-concert activities such as an instrument petting zoo hosted by Classical KING FM. To celebrate the launch of the Family Concerts series this season, there will be a carnival with additional activities for families to enjoy after the performance. So, put on your costumes and come enjoy some quality family time at the Symphony!
I hope you enjoy your concert today, and thank you for being a part of our effort to invite all generations to be a part of the wonderful world of symphonic music.
Simon WoodsPresident & CEO
NEWS FROM: SIMON WOODS, PRESIDENT & CEO
Phot
o: B
en V
anH
oute
n
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The exhibition is organized by the National Gallery of Art, Washington, DC.
Special exhibitions at SAM are made possible by donors to
Major Sponsors
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EVERYDAY MOMENTS LASTING BEAUTY
Picking Flowers (detail), 1875, Auguste Renoir, French, 1841-1919, oil on canvas, 21 3/8 x 25 11/16 in., National Gallery of Art, Washington, DC, Ailsa Mellon Bruce Collection.
Presenting Sponsors
Corporate SponsorSotheby’s
OCT 1, 2015 – JAN 10, 2016
NEW FACESThe Seattle Symphony welcomed four new musicians at the start of the season: Ted Botsford, bass; Brittany Boulding, violin; John Turman, horn; and Alexander White, trumpet.
Ted Botsford
Bass
Ted Botsford comes to
the Seattle Symphony
from the Oregon
Symphony, where he has
been Assistant Principal
Bass since 2010 and
served as Acting Principal
Bass from 2013–2015. He currently serves
as Principal Bass of the Cabrillo Festival of
Contemporary Music in Santa Cruz, California.
Brittany Boulding
Second Violin
A Pacific Northwest
native, Brittany Boulding
has performed regularly
with the Seattle
Symphony and Seattle
Opera. She has been
Concertmaster of
the Northwest Sinfonietta and the Auburn
Symphony as well as Associate Concertmaster
of the Pacific Northwest Ballet.
John Turman
Third Horn
Prior to becoming a
member of the Seattle
Symphony, John Turman
was awarded the position
of principal horn of
the St. Paul Chamber
Orchestra in the spring
of 2015. During the 2013–2014 season,
Turman performed with the Dallas Symphony
Orchestra as acting third horn.
Alexander White
Third/Assistant Principal
Trumpet
Alexander White returns
to the Seattle Symphony
as Third/Assistant
Principal Trumpet (a
position he held on
temporary contract from
2012 to 2014) after being Principal Trumpet of
the Malaysian Philharmonic, and was Associate
Principal Trumpet of the Seoul Philharmonic
from 2010 to 2012.
Photo: Paul Fardig
Photo: Prescott Breeden
Photo: Richie Hawley
Photo: Yuen Lui Studio
encoreartsseattle.com 9
For local composer and pianist Wayne Horvitz, many roads have led to this milestone: the world
premiere of Those Who Remain, a concerto featuring guitarist Bill Frisell, presented by the Seattle Symphony on its Sonic Evolution concert on October 29. With a musical style that defies labels of “jazz” or “classical,” and after decades of a globetrotting career that blurs boundaries between composing and improvising, the defining trait of Horvitz’s latest music is its deep roots in this land that he has made his home.
Born in New York City, Horvitz developed an early love of the West, traveling widely by car and by foot on family trips. He enrolled at the University of California,
Santa Cruz, and his wanderlust led him to hitchhike and backpack around the Pacific Northwest.
Like so many young musicians, Horvitz moved to New York after graduating, and he found an apartment in Lower Manhattan, in the same building as composer-saxophonist John Zorn, another rising star of what came to be called the “downtown” jazz scene. The apartments were “dangerous and dirty and tiny,” Horvitz reminisced, “but they were cheap.”
In the 1980s Zorn developed a worldwide following for his genre-bending band, Naked City. Along with Horvitz on keyboards, the all-star group featured guitarist Bill Frisell, bass guitarist Fred
Frith and drummer Joey Baron. When they weren’t touring together, three of the members — Horvitz, Frisell and Baron — were at that point neighbors in Hoboken, New Jersey, across the river from Manhattan. Horvitz and his wife, composer-singer Robin Holcomb, eventually wanted more space to raise a family, so they moved to Seattle in 1988 with their young daughter. Frisell and his family came for a summer visit, and they too were charmed by the Emerald City, prompting them to make the same move West.
Horvitz has embraced his adopted home of Seattle, and no one has done more to nurture the local scene of improvising composer-performers in the “downtown”
By AARON GRAD
A MUSICAL MIGRATIONComposer Wayne Horvitz
10 SEATTLESYMPHONY.ORG
mold. Besides his own work as a bandleader, he opened The Royal Room in Columbia City as a supportive venue for creative music from Seattle and beyond. Horvitz is doing for music what chefs like Tom Douglas are doing for dining: “Just like people are more interested in local food,” Horvitz noted, “that should be true of the arts as well.”
Meanwhile, Horvitz has undergone a musical migration of his own. When he moved to Seattle, he was primarily touring and performing in jazz clubs, as well as producing albums for Frisell and others. Lately, he has been increasingly drawn to projects that are more “classical” in nature, composing fully notated scores for conservatory-trained musicians. Since
1999 he has written string quartets, an oratorio and works for chamber orchestra. Those Who Remain is his first large-scale concerto, and it combines written material for the orchestra with a guitar part for Frisell that specifies exactly one note, the rest being improvised.
Horvitz found his inspiration for Those Who Remain in the writings of Richard Hugo, a poet who traveled the Pacific Northwest and chronicled its changing communities, from the White Center section of Seattle, where he was born, to Missoula, where he taught at the University of Montana. Horvitz has always been intrigued by “post-industrialized Western America, and these towns that were once so prosperous that fell by the
“Just like people are more interested in local food,” Horvitz noted,
“that should be true of the arts as well.”
Vocalist ShapreceGuitarist Bill Frisell
Composer & clarinetist Derek Bermel
Phot
o: A
shle
y G
enev
ieve
Phot
o: R
icha
rd B
owdi
tch
encoreartsseattle.com 11
wayside,” a theme that Hugo “captures brilliantly.”
To immerse himself in Hugo’s world, Horvitz went on a road trip through Montana, and he even stayed in the cabin frequented by Hugo and other writers. Most of Those Who Remain was composed during Horvitz’s residency at the Ucross Foundation in Wyoming, just miles from the town of Ten Sleep, referenced in the Hugo poem Three Stops to Ten Sleep — which Horvitz adopted as the title of his first movement.
Horvitz’s new composition, and the journeys that brought him to this juncture,
reflect a larger theme of the region. “The migration to the West has always been about hope,” he emphasized, “for all these people coming to the land of opportunity.”
In the last century, those opportunities led millions of African Americans to leave the rural South in what has been dubbed the “Great Migration.” They flocked to northern and western cities including Seattle, which saw its African American population quadruple between 1940 and 1950.
The African American artist Jacob Lawrence was just 23 when he created his immortal Migration Series, a set of 60
A MUSICAL MIGRATION, continued
“The migration to the West has always been about hope,” he emphasized,
“for all these people coming to the land of opportunity.”
Lawrence, Jacob (1917–2000) © ARS, NY. The railroad stations were at times so over-packed with people leaving that special guards had to be called in to keep order. 1940–41. Panel 12 from The Migration Series. Tempera on gesso on composition board, 12 x 18” (30.5 x 45.7 cm). Gift of Mrs. David M. Levy. The Museum of Modern Art Digital Image © The Museum of Modern Art/Licensed by SCALA / Art Resource, NY© 2015 The Jacob and Gwendolyn Knight Lawrence Foundation, Seattle / Artists Rights Society (ARS), New York
12 SEATTLESYMPHONY.ORG
GIVE THE GIFT OF A LIFETIME
AND UNLEASH THE POWER OF MUSIC
FOR FUTURE GENERATIONS WITH A GIFT THROUGH YOUR WILL
Seattle Symphony Principal Second Violin Elisa Barston sharing a musical moment in Soundbridge.
FOR MORE INFORMATION ON LEGACY GIVING:becky.kowals@seattlesymphony.org | 206.215.4852
panels telling the story of the ongoing Great Migration. Later Lawrence made his own westward transit, when he joined the faculty of the University of Washington, and he lived in Seattle until his death in 2000.
Composer Derek Bermel paid tribute to Lawrence with the 2006 composition Migration Series, a concerto for orchestra and jazz band, commissioned by the American Composers Orchestra and the Lincoln Center Jazz Orchestra, led by Wynton Marsalis. Bermel is also a clarinetist and improviser, and his score sizzles with authentic jazz licks and rhythms.
This performance, co-presented by the Earshot Jazz Festival, pairs the Seattle Symphony with the big band from Seattle’s own Roosevelt High School, perennial favorites at Jazz at Lincoln Center’s Essentially Ellington Competition, also directed by Marsalis. Roosevelt and friendly local rival Garfield High School have racked up a combined seven wins in the national contest since 2002, prompting Marsalis to ask about Seattle, “What’s in the water?”
The wealth of local talent is no surprise to Seattleites, who do so much to support and nurture creative artists within the community. The Seattle-born singer Shaprece is a prime example, with her blend of classic soul and sizzling electronica. Her sophisticated songs already play like miniature symphonies, and they will reach new sonic dimensions in original arrangements for orchestra.
The driving motive for the Seattle Symphony’s Sonic Evolution series is to bring composers into dialogue with Seattle’s rich creative tradition, whether the inspiration comes from huge stars like Jimi Hendrix and Kurt Cobain (as in past seasons) or cherished local artists like Richard Hugo and Jacob Lawrence. Horvitz and Shaprece represent two essential points on Seattle’s current musical map, and they are blazing paths for a new generation that is already in motion.
CS 040914 SSO094 1_3s.pdf
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This year sees his sesquicentennial anniversary (Nielsen was born in 1865). To mark the occasion, Seattle Symphony will perform his powerful Fourth Symphony, which Nielsen titled “The Inextinguishable.” The concerts, on November 12 and 14, will be led by Thomas Dausgaard, the Symphony’s Principal Guest Conductor and the composer’s distinguished compatriot.
Nielsen’s was the first Danish music to attract attention internationally, and certain aspects of his work speak particularly of his homeland. One is its occasional evocation of Danish folk songs and dance tunes. Unlike the Norwegian Edvard Grieg, the Finnish Jean Sibelius, the English Ralph Vaughan Williams or the American Aaron Copland, Nielsen did not have to “discover” folk music as an adult. As a boy, he had listened to his mother sing traditional songs, and he had played violin with a local band at weddings and other events in the coastal village where he was raised. As a result, Nielsen had grown up with Danish folk music, and it was very much in his blood.
The other particularly Danish quality in Nielsen’s compositions is a subtle yet important connection to his country’s landscape. His music, said Erik Tuxen, a Danish conductor closely associated with Nielsen, “is born out of the ethereal and
By PAUL SCHIAVO
calm Danish nature, with its soft colors and lack of dramatic features. ... [I]f one is able catch the special, near ascetic language of his music, a door will open to a world of strange beauty, love for nature and deep spiritual feeling.”
Yet the most striking qualities of Nielsen’s music are neither folkloric nor suggestive of nature, and it diminishes his achievement to think of him simply as a nationalist composer. Rather, it is an exceptional individualism that distinguishes Nielsen and his work. That quality is not easy to describe. Nielsen’s harmonic palette is not especially modern for a composer working during the first third of the 20th century, yet it is quite unlike that of any other musician. Similarly, his melodic writing is in no way abstruse, yet it defies comparison or classification. Often Nielsen’s thematic ideas seem, paradoxically, at once centuries old and brand new. And his orchestration emphasizes not so much the timbre, the aural color, of each instrument as what Nielsen felt to be its special personality.
Nielsen’s six symphonies constitute his most important body of work. Each has its own strong and unique character. The Fourth presents an epic drama between destructive and affirmative musical ideas. While it is easy to hear the work as a reflection of the dire events of World
Carl Nielsen is nearly always described as Denmark’s greatest composer, and he richly deserves that recognition.
War I, which was raging at the time Nielsen wrote the work, the composer explained the music in more timeless and universal terms. “We can say,” he said in discussing the symphony, “that if the whole world were devastated by fire, flood or volcanoes, and all things were destroyed and dead, nature would still begin to breed new life again, begin to push forward again with all the fine and strong forces inherent in matter. These forces, which are inextinguishable, are what I have tried to express.”
For tickets to Nielsen’s Symphony No. 4, “The Inextinguishable” on November 12 and 14, please visit seattlesymphony.org or call 206.215.4747.
For more Nielsen, join us on November 10 at the University of Washington for a free chamber concert honoring the composer.
Tuesday, November 10, at 7:30pmBrechemin Auditorium, School of Music, University of WashingtonSeattle Symphony musicians and University of Washington students
NIELSEN: String Quartet No. 4NIELSEN: Sonata for Violin and Piano No. 2NIELSEN: Wind Quintet, Op. 43
encoreartsseattle.com 15
October 2015Volume 29, No. 2
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La Revue de Cuisine
Music of Remembrance part-ners with Whim W ’Him dance choreographer Olivier Wevers to create a new dance to Bohuslav Martinů’s delightful jazz ballet La Revue de Cuisine. Also, music by Franz Schreker and Mieczyslaw Weinberg, and haunting songs from the Vilna Ghetto.
Tickets: $30 - $45 | (206) 365-7770 | www.musicofremembrance.orgIllsley Ball Nordstrom Recital Hall at Benaroya Hall
Sunday, November 8, 2015 (3:00 p.m.)
olivier wevers
Mina Miller, Artistic Director | 18th Season
206-543-4880 / UWWORLDSERIES.ORG
DANISH STRING QUARTET Beethoven and more / NOV 4
JONATHAN BISS Mozart, Schumann, Schönberg / OCT 20
Meany Hall on the UW Seattle Campus
Inquire aboutFREE YOUTH TICKETS
16 SEATTLESYMPHONY.ORG
Photo credits (top to bottom): Nadia F. Romanini, Nils Vilnis, Martin Lengemann, Brooklyn Benjestort
CONCERTSOctober 8–31, 2015
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P. 18Thursday, October 8, at 7:30pm
Saturday, October 10, at 8pm
STRAUSS ZARATHUSTRA
P. 24Sunday, October 11, at 2pm
LANG LANG WITH THE SEATTLE SYMPHONYSPECIAL PERFORMANCES
P. 27Monday, October 12, at 7:30pm
SIR ANDRÁS SCHIFF THE LAST SONATASDISTINGUISHED ARTISTS SERIES
P. 32Friday, October 16, at 8pm
Saturday, October 17, at 8pm
Sunday, October 18, at 2pm
GERSHWIN RHAPSODY IN BLUEMCM SEATTLE POPS SERIES
P. 35Monday, October 19, at 7:30pm
IVETA APKALNAFLUKE/GABELEIN ORGAN RECITAL SERIES
P. 38Thursday, October 22, at 7:30pm
Sunday, October 25, at 2pm
BEETHOVEN PIANO CONCERTO NO. 1
P. 41Friday, October 23, at 10pm
[UNTITLED] 1[UNTITLED] SERIES
P. 43Tuesday, October 27, at 7:30pm
BERNSTEIN & SHOSTAKOVICHCHAMBER SERIES
P. 45Thursday, October 29, at 7:30pm
SONIC EVOLUTION: UNDER THE INFLUENCESPECIAL PERFORMANCES
P. 49Friday, October 30, at 8pm
Saturday, October 31, at 8pm
HITCHCOCK PSYCHO WITH THE SEATTLE SYMPHONYSPECIAL PERFORMANCES
encoreartsseattle.com 17
Please note that the timings provided for this concert are approximate.
Please turn off all electronic devices and refrain from taking photos or video.
Performance ©2015 Seattle Symphony. Copying of any performance by camera, audio or video recording
equipment, and any other use of such copying devices during a performance is prohibited.
PROGRAM NOTES by Paul Schiavo
Thursday, October 8, 2015, at 7:30pm
Saturday, October 10, 2015, at 8pm
STRAUSS ZARATHUSTRA
Jakub Hrůša, conductor
Vilde Frang, violin
Seattle Symphony
ANTONÍN DVOŘÁK A Hero’s Song, Op. 111 23’
BENJAMIN BRITTEN Violin Concerto No. 1, Op. 15 32’
Moderato con moto
Vivace
Passacaglia: Andante lento (un poco meno mosso)
VILDE FRANG, VIOLIN
INTERMISSION
RICHARD STRAUSS Also sprach Zarathustra, Op. 30 33’ (“Thus Spake Zarathustra”)
Einleitung (“Introduction”)—
Von den Hinterweltlern (“Of the Backworldsmen”)—
Von der großen Sehnsucht (“Of the Great Longing”)—
Von den Freuden und Leidenschaften (“Of Joys and Passions”)—
Das Grablied (“The Song of the Grave”)—
Von der Wissenschaft (“Of Science and Learning”)—
Der Genesende (“The Convalescent”)—
Das Tanzlied (“The Dance-Song”)—
Nachtwandlerlied (“Song of the Night Wanderer”)
Pre-concert Talk one hour prior to performance.Speaker: Stephen Bryant, Seattle Symphony Second Violin
Ask the Artist on Thursday, October 8, in the Samuel & Althea Stroum Grand Lobby following the concert.
Struggle and TranscendenceMusic intimating dramas of crisis and
overcoming forms is a significant part
of the orchestral literature. More than
a few of Beethoven’s symphonies and
other works enact such dramas more
or less explicitly, as do compositions
by Brahms, Tchaikovsky, Mahler,
Shostakovich and others.
The three pieces that comprise the
program for our concert also suggest,
in different ways, scenarios entailing
the transcendence of obstacles or
apparent defeat. Antonín Dvorák’s
A Hero’s Song traces a path from
struggle and pathos to triumph.
Benjamin Britten’s Violin Concerto
moves from darkly ominous music
through a surreal dance to a serene
conclusion. And Richard Strauss’ tone
poem Also sprach Zarathustra attempts
to depict, through music, nothing less
than the rise and ultimate triumph of
mankind.
ANTONÍN DVOŘÁK
A Hero’s Song, Op. 111
BORN: September 8, 1841, in Nelahozeves,
Bohemia
DIED: May 1, 1904, in Prague
WORK COMPOSED: 1897
WORLD PREMIERE: December 4, 1898, in
Vienna. Gustav Mahler conducted the Vienna
Philharmonic Orchestra.
The notion of heroism — specifically, the
extolling of heroic persons and deeds
— is a recurring theme in 19th-century
orchestral music. Beethoven titled his
Third Symphony Sinfonia eroica, or
“Heroic Symphony,” and with it generated
a line of implicitly heroic symphonies
by later composers. The tone poem, a
compositional genre used to portray
particular happenings or narratives
through evocative orchestral sonorities
and musical ideas, also has served to
convey heroism through music. Franz
Liszt, who essentially invented the tone
poem, wrote several such works on heroic
subjects, and Richard Strauss, a master
of the genre, composed one titled
18 SEATTLESYMPHONY.ORG
PROGRAM NOTES by Paul Schiavo
Ein Heldenleben (A Hero’s Life). Less
familiar, but equally representative, is
Antonín Dvořák’s A Hero’s Song.
Dvořák wrote this tone poem in 1897.
Unusually, the composer declined to
reveal any literary scenario behind A
Hero’s Song. But from its title, and from
the music itself, we can infer a general
program of heroic striving, temporary
defeat and conclusive triumph. The piece
upholds the conventions of tone-poem
composition not only in its suggestion
of a narrative but also in its use of a
principal theme that recurs, in various
guises, in different parts of its single
movement, a practice established by Liszt
in his tone poems. This signature theme
sounds at the very outset and, after much
transformation, rings out exultantly in the
brass during the concluding moments.
A Hero’s Song received its initial
performance in December 1898. Gustav
Mahler, a renowned conductor as well as
a composer, directed. Dvořák had by then
turned to composing operas, an activity
that occupied his final years. A Hero’s Song
proved to be his last orchestral work.
WHAT TO LISTEN FOR: The piece begins
with a rough-hewn theme stated by the
low strings. Initially giving the impression
of coiled energy, it quickly comes to
express a wider range of moods. Soon the
tempo slows, and the music takes on the
aspect of a funeral dirge. (Notice, though,
the remembrances of the initial theme
that run through this second portion of
the work.) The pace and complexion of
the music then brighten for a long section
that alternates between bucolic cheer
and proud fanfares. At length, the music
takes on a dramatic tone, and the theme
heard at the outset returns in a clearly
recognizable form. A bright variant of this
idea forms the subject for the final part of
the composition.
Scored for pairs of flutes, oboes, clarinets
and bassoons; 4 horns, 2 trumpets,
3 trombones and tuba; timpani and
percussion; strings.
BENJAMIN BRITTEN
Violin Concerto No. 1, Op. 15
Moderato con motoVivacePassacaglia: Andante lento (un poco meno
mosso)
BORN: November 22, 1913, in Lowestoft,
England
DIED: December 4, 1976, in Aldeburgh, England
WORK COMPOSED : 1938–39
WORLD PREMIERE: March 27, 1940, in New
York. Antonio Brosa was the soloist, and John
Barbirolli conducted the New York Philharmonic.
The period in which Benjamin Britten wrote
his Violin Concerto was a difficult one,
both personally and in the larger sphere
of world events. Britten began composing
this work in November, 1938, in his native
England. He completed it, after several
interruptions, ten months later, by which
time he had crossed the Atlantic to begin
what would be a three-year sojourn in
North America, mostly in the United States.
The composer had now completed
his studies and faced the difficult task
of making his way in the world as a
creative musician. He felt out of place
in his native England, being a more
forward-looking artist than the public
was inclined to support. Moreover, he
was a confirmed pacifist at a time when
his homeland was quickly preparing for
war. And there is evidence that an early
romantic relationship had become difficult.
In addition, Antonio Brosa, the Spanish
violinist who played the concerto’s first
performance and consulted with Britten
while he was writing the piece, asserted
that the music’s somber intensity stemmed
from the composer’s desolation at the
fascist victory in the recently concluded
Spanish civil war.
There is, then, much to consider when
listening to the concerto Britten composed
during this time. It is tempting to hear the
work as a biographical document, as a
reflection of the darkening times, or both
— even if we cannot make any definite
pronouncement about what, if anything
particular, the music is trying to express.
Britten begins the concerto in a striking
and unusual fashion, with a brief figure
played on timpani. This motif passes to the
bassoons and other instruments, where
it repeats obsessively — and, it seems,
ominously — as an undercurrent to the
more melodic events that subsequently
unfold.
The second movement is essentially a
scherzo, but a particular kind of scherzo:
a danse macabre, with a wild, often
grotesque aspect. It concludes with a
demanding cadenza solo that serves as a
bridge to the finale.
Britten casts this third movement as a
passacaglia, a compositional format that
entails a sequence of variations woven
over and around a brief repeating theme.
Here the passacaglia theme is introduced
by trombones as the solo violin soars
quietly out of the cadenza. Following
an initial elaboration by the orchestra,
the featured instrument again comes to
the fore, spinning impassioned lines —
at times sorrowful, at times tense and
nervous — over varied recurrences of
the passacaglia theme. A playful episode
midway through the movement lightens
the mood only briefly. Another orchestral
passage builds to a climax, after which
the music subsides to a serene, and
seemingly bittersweet, conclusion.
WHAT TO LISTEN FOR: The rhythmic
figure established by the timpani in the
concerto’s opening moments continues
beneath the soaring line played by the
solo violin and, later, as counterpoint to
the orchestra’s extension of that idea.
Later, soloist and ensemble switch roles,
the featured instrument giving out the
signature rhythm while the orchestra sings
the elegiac main subject. A second theme
strikes an ironic martial tone. Following the
second movement’s wild dance, the finale
opens with a stately theme announced by
the trombones. It passes at once to the
strings, then the trumpets and continues,
in varied form, as counterpoint to other
events, many instigated by the solo violin.
Scored for 3 flutes, the second doubling on second piccolo, the third doubling on first piccolo; 2 oboes and English horn; 2 clarinets; 2 bassoons and contrabassoon; 4 horns, 3 trumpets, 3 trombones and tuba; timpani and percussion; harp and strings.
encoreartsseattle.com 19
RICHARD STRAUSS
Also sprach Zarathustra, Op. 30 (“Thus Spake Zarathustra”)
Einleitung (“Introduction”)—Von den Hinterweltlern
(“Of the Backworldsmen”)— Von der großen Sehnsucht
(“Of the Great Longing”)—Von den Freuden und Leidenschaften
(“Of Joys and Passions”)—Das Grablied (“The Song of the Grave”)—Von der Wissenschaft
(“Of Science and Learning”)—Der Genesende (“The Convalescent”)—Das Tanzlied (“The Dance-Song”)—Nachtwandlerlied (“Song of the Night
Wanderer”)
BORN: June 11, 1864, in Munich
DIED: September 8, 1949, in Garmish-
Partenkirchen, Bavaria
WORK COMPOSED: 1896
WORLD PREMIERE : November 27, 1896, in
Frankfurt, conducted by the composer
The opening moments of Richard Strauss’ Also sprach Zarathustra are among the most magnificent and most famous in all of music. Surprisingly, perhaps, these memorable sounds were inspired by a philosophical treatise. Friedrich Nietzsche’s allegory of the same title as Strauss’ tone poem would seem an unlikely work on which to base a musical composition. In his book, Nietzsche, speaking through the fictional sage Zarathustra, preaches a “natural aristocracy” of those who, by dint of intellectual effort and a “will to power,” can rise above mediocrity and conformity and lead humanity to a golden age. This era would be marked by the arrival of a superior type of person, to which Nietzsche gave the unfortunate name Übermensch, or “Superman.”
The philosopher’s premise, which opposed both traditional Christian morality and the ideals of democracy, scandalized Europe when his book first appeared in 1883, and it has remained the target of impassioned denunciation since then. Yet it also struck a responsive chord in a number of thinkers and artists, among them Richard Strauss. In 1896 the composer wrote a tone poem based on Thus Spake Zarathustra. It has become one of his most famous works.
If anyone was equal to the unlikely task of translating Nietzsche’s tract into music, it was Strauss. Early in his career he had adopted the use of literary scenarios, or programs, as the basis for a series of tone poems. These works, composed during the late 1880s and throughout the following decade, demonstrated his mastery at rendering music from dramatic ideas. But the vivid stories underlying Don Juan, Macbeth, Till Eulenspiegel and his other great tone poems were a far cry from Nietzsche’s text. Strauss’ solution was to approach Zarathustra as a dramatic work. “I did not intend to write philosophical music,” he explained. “I meant rather to convey an idea of the evolution of the human race from its origin ... up through Nietzsche’s idea of the Übermensch.”
An outline of this program is provided in the headings of the sections that comprise the tone poem’s long single movement. The work’s famous prelude gives way to dark strains in the low strings and woodwinds portraying “Man in a primeval State.” The succeeding sections bring music of varied character. The final section, “Song of the Night Wanderer,” brings a remarkable conclusion whose sonority spans the orchestra’s extreme high and low registers.
WHAT TO LISTEN FOR: The thrilling opening suggests the dawn when Zarathustra addresses the sun, and by extension, the dawn of human consciousness. (This passage achieved wide renown through its use in the soundtrack of the film 2001: A Space Odyssey.) Its trumpet motif will recur varying guises throughout the tone poem. Following the somber depiction of primeval man, “Of the Great Longing” and “Of Joys and Passions” are filled with Romantic longing and charged emotion in turn. “Of Science and Learning” is represented by that most erudite of musical devices, a fugue, here based on the work’s opening theme. Next comes an evanescent scherzo (“The Convalescent”) and waltz (“The Dance-Song”), with a prominent violin solo. Tolling bells usher in the peaceful final section, “Song of the Night Wanderer,” which ends with a remarkable passage. In it, the basses remain earthbound in C while the high woodwinds and strings ascend in what was, throughout the 19th century, thought of as the “heavenly” key of B major.
Scored for piccolo, 3 flutes, the third doubling on second piccolo; 3 oboes and English horn; 2 clarinets, E-flat clarinet and bass clarinet; 3 bassoons and contrabassoon; 6 horns, 4 trumpets, 3 trombones and 2 tubas; timpani and percussion; 2 harps, organ and strings.
© 2015 Paul Schiavo
A HUGE THANK YOU TO ALL THE OPENING NIGHT CONCERT & GALA ATTENDEES AND SPONSORS WHO MADE THIS YEAR'S KICK-OFF EVENT A RESOUNDING SUCCESS!
TOGETHER YOU RAISED OVER $785,000 TO EMPOWER TOMORROW'S MUSICIANS TODAY THROUGH YOUR SUPPORT OF THE SEATTLE SYMPHONY'S EDUCATION AND COMMUNITY PROGRAMS. THANK YOU!
PROGRAM NOTES continued
20 SEATTLESYMPHONY.ORG
PRESENTING DINE AROUND SEATTLE’S TOP 50Our curated picks of celebrated restaurants (and a few
rising stars) in the local culinary scene
PREMIUM PRIX FIXE MENUS Three course dining prepared with fresh,
locally sourced ingredients
MEET THE LOCAL PRODUCERS A series of special events at your favorite restaurants to
enrich your local dining experience in November
YOU TELL US: THE LOCAL BEST OF DINE AROUND SEATTLE
Help us honor the chefs and heros of the culinary community who support local goodness – cast your
vote for the LOCAL BEST.
DINING CAN MAKE A DIFFERENCEWhen you make a reservation through our website,
we make a $1 donation to fight hunger in Seattle.
DINEAROUNDSEATTLE.ORG for more details & reservations.
Explore the local flavors of the Northwest served by some of the city’s most celebrated chefs from Seattle’s best restaurants.
NOT JUST ANOTHER THREE COURSE DEAL
EAP full-page template.indd 1 10/1/15 1:17 PM
JAKUB HRŮŠAConductor
FORTE: Born in the
Czech Republic and
described by
Gramophone as “on the
verge of greatness”,
Jakub Hrůša has served
as Music Director and
Chief Conductor of PKF
– Prague Philharmonia
since 2009, and was
recently named Chief Conductor Designate
of the Bamberg Symphony. He is also
Principal Guest Conductor of Tokyo
Metropolitan Symphony Orchestra (TMSO),
with whom he recently extended his
commitment through the 2017–2018
season. He is currently President of the
International Martinů Circle.
GUEST CONDUCTING: He is a regular guest
with many of the world’s leading orchestras,
including The Cleveland Orchestra,
Czech Philharmonic, Leipzig Gewandhaus
Orchestra, Melbourne Symphony
Orchestra, Orchestre Philharmonique de
Radio France, Philharmonia Orchestra,
Stuttgart Radio Symphony Orchestra (SWR),
Sydney Symphony Orchestra and WDR
Symphony Orchestra Cologne. 2015–2016
will see him make eagerly-awaited debuts
with the Royal Concertgebouw Orchestra,
Orchestra Filarmonica della Scala, and at
the Vienna State Opera (a new production
of The Makropulos Case directed by Peter
Stein) and Frankfurt Opera (Il trittico).
CONDUCTING OPERA: In the field of opera,
he has been a regular guest with the
Glyndebourne Festival and Tour since his
debut in 2008, conducting Carmen,
Don Giovanni, La bohème, Rusalka and
The Turn of the Screw, and serving as
Music Director of Glyndebourne On
Tour (2010–12). Elsewhere he has led
productions for Prague National Theatre
(The Cunning Little Vixen; Rusalka) and
Royal Danish Opera (Boris Godunov).
RECORDINGS: As a recording artist, he
has released six discs for Supraphon
including a critically acclaimed live
recording of Smetana’s Má vlast from the
Prague Spring Festival. Other recordings
include the Tchaikovsky and Bruch violin
concertos with Nicola Benedetti and
the Czech Philharmonic (Universal), and
live recordings of Berlioz’s Symphonie
fantastique and Strauss’ Eine Alpensinfonie
with TMSO (Octavia Records).
Photo: Petra Klackova
DUTILLEUX VOLUME 2
Ludovic Morlot and the Seattle Symphony follow
their Grammy-nominated first Dutilleux CD with
the second volume in their survey of the great
French composer’s orchestral works.
This disc includes Augustin Hadelich’s poetic
performance of the violin concerto L’arbre
des songes, and riveting live performances of
Métaboles and Symphony No. 2, all recorded
in the spectacular acoustics of Seattle’s
Benaroya Hall.
ALSO AVAILABLE: DUTILLEUX VOLUME 1
MONDAY–FRIDAY 11AM TO 2PMAND 90 MINUTES PRIOR TO PERFORMANCES
AVAILABLE ATSYMPHONICA, THE SYMPHONY STORE
SEATTLESYMPHONY.ORG/RECORDINGS DISTRIBUTED BY NAXOS OF AMERICA, INC.
22 SEATTLESYMPHONY.ORG
VILDE FRANGViolin
FORTE: Vilde Frang was
unanimously awarded
the Credit Suisse Young
Artist Award in 2012 and
made her debut with the
Vienna Philharmonic
under Bernard Haitink at
the Lucerne Festival.
Frang performs on a
Jean-Baptiste Vuillaume
from 1864.
PERFORMANCE HIGHLIGHTS: Highlights
among her recent and forthcoming solo
engagements include performances with
Konzerthausorchester Berlin, the London
Philharmonic Orchestra, Mahler Chamber
Orchestra, the NHK Symphony Orchestra
in Tokyo, Orchestre de Paris, Philharmonia
Orchestra, St. Petersburg Philharmonic
Orchestra, Sydney Symphony Orchestra,
Symphonieorchester des Bayerischen
Rundfunks and Tonhalle-Orchester
Zurich, with conductors including Vladimir
Ashkenazy, Iván Fischer, Jakub Hrůša,
Mariss Jansons, Paavo Järvi, Vladimir
Jurowski, Vasily Petrenko, Esa-Pekka
Salonen, Yuri Temirkanov and Krzysztof
Urbański.
CHAMBER & RECITAL PERFORMANCES: A
keen chamber musician, Frang regularly
appears at festivals in Lockenhaus, London,
Lucerne, Mecklenburg-Vorpommern,
Rheingau, Salzburg and Verbier, and
at the George Enescu Festival and the
Prague Spring Music Festival. Amongst
her collaborators were Nicolas Altstaedt,
Leif-Ove Andsnes, Martha Argerich, Yuri
Bashmet, Steven Isserlis, Gidon Kremer,
Truls Mørk, Lawrence Power and Quatuor
Ébène. Vilde has toured internationally with
her recital partner Michail Lifits. The duo
have performed at venues including the
Bozar Brussels Concertgebouw, Carnegie
Hall, Musikverein, Philharmonie Berlin, Royal
Albert Hall, Tonhalle Zurich and Wigmore
Hall, as well as part of the Boston Celebrity
Series, San Francisco Performances and
Vancouver Recital Series.
RECORDINGS: Vilde Frang is an exclusive
Warner Classics artist and her recordings
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the recipient of the Classic BRIT Award,
Deutsche Schallplattenpreis, Diapason d’Or
by Diapason, ECHO Klassik Award, Edison
Klassiek Award and Editor’s Choice by
Gramophone. Her most recent release of
Mozart Violin Concertos has received critical
acclaim.
Photo: Marco Borggreve
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Encore 1/6 horizontal MyFairLady.indd 1 9/29/15 10:24 AM
encoreartsseattle.com 23
Sunday, October 11, 2015, at 2pm
LANG LANGWITH THE SEATTLE SYMPHONYSPECIAL PERFORMANCES
Jakub Hrůša, conductor
Lang Lang, piano
Seattle Symphony
LUDWIG VAN BEETHOVEN Coriolan Overture, Op. 62 8’
WOLFGANG AMADEUS MOZART Piano Concerto No. 24 in C minor, K. 491 31’
Allegro
Larghetto
Allegretto
LANG LANG, PIANO
INTERMISSION
OTTORINO RESPIGHI Selections from Gli uccelli (“The Birds”) 8’
Prelude (after Bernado Pasquini, 1637–1710)
The Hen (after Jean-Phillipe Rameau, 1683–1764)
The Cuckoo (after Pasquini)
EDVARD GRIEG Piano Concerto in A minor, Op. 16 30’
Allegro molto moderato
Adagio
Allegro moderato molto e marcato
LANG LANG, PIANO
Jakub Hrůša’s biography may be found on page 22.
Lang Lang’s performance is generously underwritten by Judith A. Fong and Mark Wheeler
through the Seattle Symphony’s Guest Artists Circle.
Please note that the timings provided for this concert are approximate.
Please turn off all electronic devices and refrain from taking photos or video.
Performance ©2015 Seattle Symphony. Copying of any performance by camera, audio or video recording
equipment, and any other use of such copying devices during a performance is prohibited.
PROGRAM NOTES by Steven Lowe
LUDWIG VAN BEETHOVEN
Coriolan Overture, Op. 62
BORN: December 16, 1770, in Bonn
DIED: March 27, 1827, in Vienna
WORK COMPOSED: 1807
WORLD PREMIERE: March 1807, in Vienna,
Beethoven conducting
In 1802 Beethoven attended a production of the play, Coriolan by the Viennese poet Heinrich Joseph von Collin, a writer much admired by the composer. Beethoven, in fact, considered (though eventually dropped) the idea of writing an opera on Collin’s adaptation of Shakespeare’s Macbeth. So affected was he by Collin’s treatment of the character of Coriolanus, derived through Shakespeare from Plutarch, that he was moved to write this Overture without any likelihood of using it as incidental music to the play. No doubt the protagonist’s temperament — iron-willed, passionate, uncompromising and given to reckless bravery — resonated deeply in Beethoven’s psyche; he saw in Coriolanus a mirror of himself. Even for Beethoven, this overture bristles with urgent energy and outright storminess.
A musical gesture of vehement defiance opens the piece, as if the composer were thrusting his fist into the air. Aggressive unisons played by the strings are answered by angry chords from the full orchestra. The emerging main theme is a model of restless unease and dread, rendered even more intense by a lyrical countersubject. The dramatic mood heightens during the development as the hero’s inner turmoil is stirred up by doubt. The recap finds the music in F minor rather than in the “correct” home key of C minor, to which it returns only with the reappearance of the second theme. A lengthy coda counterpoises the two themes, and the overture ends in resignation and virtual silence.
24 SEATTLESYMPHONY.ORG
PROGRAM NOTES by Steven Lowe
WOLFGANG AMADEUS MOZART
Piano Concerto No. 24 in C minor, K. 491
Allegro Larghetto Allegretto
BORN: January 27, 1756, in Salzburg
DIED: December 5, 1791, in Vienna
WORK COMPOSED: 1786
WORLD PREMIERE: April 7, 1786, in Vienna,
Mozart as soloist
Classical era composers infrequently set works in minor keys; when they did so they typically ended optimistically bathed in the reassuring comfort of the major, as indeed Mozart did in the otherwise stormy Piano Concerto No. 20 in D minor, K. 466. In No. 24 in C minor, K. 491, there is no such concession; perhaps that is why this work so entranced Beethoven whose Piano Concerto No. 3, also in C minor, conveys a similar degree of anxiety and drama. If anything, Mozart’s primary theme in the opening movement is even more troubling than Beethoven’s, the result of K. 491’s chromaticism and oddly discomfiting 3/4-time meter. With an orchestral tapestry rich in wind timbres (oboes and clarinets), Mozart’s C-minor Piano Concerto is his darkest orchestral work. Only in his G-minor String Quintet, K. 516, does he so readily plumb such depths of feeling — and even there he ends the finale with a sudden and resolute shift into sunny G major!
The opening Allegro begins quietly but menacingly in the orchestra, a broadly spanned main theme incorporating a series of stark and stabbing chromatic leaps that must have utterly confounded the sensibilities of his Viennese patrons. When the theme is repeated, it is played at a louder and more overtly threatening dynamic level. This is the kind of dark and disturbing music that led early 19th century composers like Schumann and even young Brahms to view Mozart as one of their own — a Romantic. A brief phrase for flute near the movement’s close is subtly menacing, belying that instrument’s usual upbeat sonority.
The beguiling simplicity of the Larghetto in E-flat major is an appropriate retreat from the smoldering passion of the opening Allegro. In many of his major-key concertos Mozart invested his slow movements with emotion, but here the procedure is reversed. The Larghetto is all balm and euphony.
The finale, a set of variations rather than a customary rondo, returns to the tragic mood of the opening movement. The late Abraham Veinus, whose fine study of the concerto from the middle of the 20th century has stood the passage of time, wrote, “The C-minor is the one Mozart concerto that has the true epic sweep, the anguished heroism and the rock-like grandeur that one expects more readily from a Beethoven or a Michelangelo.”
OTTORINO RESPIGHI
Selections from Gli uccelli (“The Birds”)
Prelude (after Bernado Pasquini, 1637–1710)The Hen (after Jean-Phillipe Rameau,
1683–1764)The Cuckoo (after Pasquini)
BORN: July 9, 1879, in Bologna
DIED: April 18, 1936, in Rome
WORK COMPOSED: 1928
WORLD PREMIERE: 1928, in Sao Paolo, Brazil,
with the composer conducting.
Ottorino Respighi was born into a family of musicians and virtually groomed for a life in that field. Blessed with abundant talent, he balanced the demands of a performer (violin and viola) with that of a composer, frequently serving in both capacities. In his early years, he played viola in the orchestra of the St. Petersburg Opera, which gave him the opportunity to study composition with Rimsky-Korsakov, whose orchestral brilliance obviously rubbed off on Respighi, himself a true magician of tone painting. He gained further mentoring from Max Bruch, but it was Rimsky-Korsakov whose influence was most pronounced, enhanced by exposure to Debussy and Richard Strauss.
Composers have virtually always responded to the allure of birdsong. Reference to the musical offerings of our feather friends show up in classical music at least as far back as, for instance, Heinrich Biber (1644–1704) in his Sonata repesentativa, Vivaldi’s Four Seasons and Beethoven’s Pastoral Symphony. This past century has given us many evocations of birds by Olivier Messiaen, Prokoviev’s Peter and the Wolf and Respighi in his popular Pines of Rome from 1924. Four years later he produced Gli uccelli, a delectable and skillfully written work in five movements of which we hear the first, third and fifth movements at this concert.
The Prelude opens the piece with a winsome tune ascribed to Bernardo Pasquini (1637–1710). The amiable melody is presented twice, first to introduce the sequence of bird-calls in the middle section, and again in the third and closing episode. The third movement, The Hen, draws from the harpsichord aviary of Jean-Philipps Rameau. One cannot miss the musical portraits of clucking hens (strings) and rooster calls courtesy of the winds. The fifth, concluding movement, The Cuckoo, begins with a two-note call from the winds led by a flute in a gradual increase in energy and excitement before Respighi reprises the Pasquini theme from the opening Prelude. Respighi’s considerable skill and orchestral imagination employs a celesta to add luster to the proceedings.
EDVARD GRIEG
Piano Concerto in A minor, Op. 16
Allegro molto moderato Adagio Allegro moderato molto e marcato
BORN: June 15, 1843, in Bergen, Norway
DIED: September 4, 1907, in Bergen, Norway
WORK COMPOSED: 1868
WORLD PREMIERE: April 3, 1869, in
Copenhagen, Edmund Neuport as soloist
Grieg had an abiding love for the music of Robert Schumann, instilled at an early age by his piano teacher Ernst Wenzel.
encoreartsseattle.com 25
LANG LANGPiano
FORTE: Lang Lang
inspires millions with
his open-hearted,
emotive playing,
whether it be in
intimate recitals or on
the grandest of stages
— such as the 2014
World Cup concert in
Rio, with Placido
Domingo; the 56th and 57th Grammy
Awards, where he performed with
Metallica and Pharrell Williams; the
Opening Ceremony of the 2008 Beijing
Olympics; the Last Night of the Proms at
London’s Royal Albert Hall; or the Liszt
200th birthday concert with The
Philadelphia Orchestra and Charles Dutoit
which was broadcast live in over 500
cinemas internationally (the first classical
music cinema cast to be headlined by a
solo artist).
RECORDINGS: In 2007 he was nominated
for a Grammy Award, becoming the first
Chinese artist to be nominated for Best
Instrumental Soloist. In 2010 Lang Lang
joined Sony Music Entertainment as an
exclusive recording artist; his first album
with Sony featured a live recording of
his 2010 recital at Vienna’s legendary
Musikverein. His next CD, “Liszt, My Piano
Hero” and DVD “Liszt, Now!” celebrated
the composers’ 200th Anniversary, while
2012 saw the release of “The Chopin
Album”, and 2013 a recording with Simon
Rattle and the Berliner Philharmoniker.
His latest, “The Mozart Album” was
released in 2014. He is heard on the
Golden Globe-winning score for the film
The Painted Veil, and on the soundtracks
of The Banquet and of My Week With
Marilyn.
HONORS: Honors include being named
in the “TIME 100”; being added as one of
the World Economic Forum’s 250 Young
Global Leaders; Honorary Doctorates
from the Royal College of Music,
Manhattan School of Music and New York
University; the highest prize awarded by
China’s Ministry of Culture; Germany’s
Order of Merit; and France’s Medal of the
Order of Arts and Letters.
Photo: Harald Hoffmann
While still a young man, Grieg leapt at the chance to hear Robert’s widow Clara, one of the premier pianists of the 19th century, perform her husband’s piano concerto at a Gewandhaus concert.
After completing his studies in Leipzig, Grieg moved to Copenhagen to study with the Danish composer Niels Gade, esteemed in his day as an apostle of Mendelssohn and Schumann, both having died relatively early in their lives in 1847 and 1856 respectively. Gade introduced Grieg to the luminaries of the day, including Hans Christian Andersen. In 1864 Grieg fell under the sway of Rikard Nordraak, a composer only a year older than he (and who died at 23) who argued that Norwegian composers should create a specifically Norwegian style (paralleling the kind of national consciousness that was motivating Glinka in Russia, Smetana in Czechoslovakia, and other composers throughout the continent.
After introducing a number of songs and chamber works to establish himself in his homeland, Grieg achieved an enormous and lasting upsurge in popularity with his Piano Concerto in A minor, cast in the same key as Schumann’s and boasting certain undeniable similarities, especially the introductory cascades of piano chords at the beginning of both works. If Grieg otherwise kept to writing delectable miniatures utilizing Norwegian folk materials, the Piano Concerto is far more beholden in its scope to Schumann’s brand of German Romanticism. The evergreen concerto also extended Grieg’s reputation beyond the borders of his native land. Though written in 1868, Grieg incorporated changes suggested by Franz Liszt before having the work published in 1872. Grieg continued to touch up the score over the next 30-plus years.
The first movement opens with a bold statement from the soloist — a series of clashing chords descending the length of the keyboard, followed by an upwardly sweeping sequence of arpeggios. The serene main theme is then uttered softly by the woodwinds, and eventually taken up by the piano. This primary tune serves
as the connective tissue that binds the otherwise episodic development section. The mood of the entire movement alternates between virtuosic heroism and Grieg’s essentially lyric impulse. A strenuous cadenza reflects the composer’s pianistic prowess.
A sentimental, songful Adagio recalls Hans von Bülow’s description of Grieg as the “Chopin of the North,” with its salon-like atmosphere and lovely, yet economical writing for the piano. Without pause, the finale leaps forward with great vigor, impelled by the stirring rhythm of the halling, a popular Norwegian dance of the day. Structurally, the finale exhibits the episodic alternations of a rondo fused to developmental niceties redolent of sonata-allegro form. A songful and restrained middle section allows us to catch our collective breath before the movement’s stirring and majestic conclusion.
© 2015 Steven Lowe
PROGRAM NOTES continued
26 SEATTLESYMPHONY.ORG
Monday, October 12, 2015, at 7:30pm
SIR ANDRÁS SCHIFFTHE LAST SONATASDISTINGUISHED ARTISTS SERIES
Sir András Schiff, piano
FRANZ JOSEPH HAYDN Sonata No. 62 in E-flat major, Hob. XVI:52 18’
Allegro
Adagio
Finale–Presto
LUDWIG VAN BEETHOVEN Sonata in C minor, Op. 111 26’
Maestoso–Allegro con brio ed appassionato
Arietta: Adagio molto semplice cantabile
INTERMISSION
WOLFGANG AMADEUS MOZART Sonata in D major, K. 576 15’
Allegro
Adagio
Allegretto
FRANZ SCHUBERT Sonata No. 21 in B-flat major, D. 960 41’
Molto moderato
Adante sostenuto
Allegro vivace con delicatezza
Allegro ma con troppo
Please note that the timings provided for this concert are approximate.
Please turn off all electronic devices and refrain from taking photos or video.
Performance ©2015 Seattle Symphony. Copying of any performance by camera, audio or video recording
equipment, and any other use of such copying devices during a performance is prohibited.
Many essays have been written on the
subject of different composers’ first
published works. Tonight’s program,
by contrast, presents the final piano
sonatas by the four great composers
of the first Viennese School — Haydn,
Mozart, Beethoven and Schubert.
FRANZ JOSEPH HAYDN Sonata No. 62 in E-flat major, Hob. XVI:52 Allegro Adagio Finale–Presto
BORN: March 31, 1732, in Rohrau, Austria
DIED: May 31, 1809, in Vienna
WORK COMPOSED: 1794–95
WORLD PREMIERE: 1795, in London,
Therese Jansen performing
Long-lived Franz Joseph Haydn may not have actually “fathered” the symphony and string quartet, but through diligence and genius he polished and bequeathed finished models of both genres for succeeding generations of composers. He wrote imaginatively in all the instrumental and vocal forms of his day, including opera, which he abandoned because he felt that Mozart was clearly the master of the genre. Haydn also wrote extensively for the rapidly changing piano, creating more than four-dozen sonatas that reveal the same degree of variety and innovation one finds when surveying his 100-plus symphonies and more than 80 string quartets.
In 1794 and 1795 Haydn wrote three sonatas for Therese Jansen, a highly regarded pianist and student of the pianist/composer Muzio Clementi. No. 62 in E-flat major, Hob. XVI:52, was the third of the set and Haydn’s final sonata to boot; it is a large-scale essay considered by many commentators as the greatest of his keyboard works.
The Allegro asserts its drama and ample proportions with a rippling bold forte chord that launches the movement with imposing power. As the opening
PROGRAM NOTESby Steven Lowe
encoreartsseattle.com 27
thematic group unfolds one hears dotted (long–short) figures that impart the flavor of a Baroque “French” overture, reminding us that Haydn grew up while Bach and Handel were plying their trade. Emphatic rhythms and jabbing sforzando-like interjections suggest connections with Haydn’s erstwhile student, the young and impatient Beethoven, who despite occasional jabs at his mentor obviously learned a lot from the older composer. The profusion of unexpected harmonic departures from the tonic key adds a sense of bold exploration to the music, once again reminding us of Beethoven waiting impatiently in the wings.
Even more unusual, the ensuing Adagio is cast in remote E major, harmonically at odds with the E-flat tonality of the first and third movements. Yet Haydn had already made a brief detour into E major during the Allegro, perhaps hinting at its use in the Adagio. Haydn composed the sonata for performance on the larger pianos created by makers in England, further enhancing dynamic range and timbral richness. By and large, the music proceeds in sequences of dotted passages alternating with scales and repeated single notes. Emotions range from introspective murmurings to sudden dramatic outbursts.
A return to E-flat informs the concluding finale–Presto, a movement that celebrates Haydn’s considerable musical wit, recalling the legendary conductor Wilhelm Furtwängler’s observation that “…the joys of life are captured in handfuls in Haydn’s music.” Vivacious, energetic and requiring a fine technique, the finale supports contemporary reports of Mlle. Jansen’s fluency. Note that the movement opens with five repeated G naturals that serve to erase the lingering G-sharp of the final E-major chord that closes the Adagio. The repeated notes recur frequently, imparting a heady élan, another anticipation of Beethoven.
LUDWIG VAN BEETHOVEN
Sonata in C minor, Op. 111
Maestoso–Allegro con brio ed appassionato
Arietta: Adagio molto semplice cantabile
BORN: December 16, 1770, in Bonn
DIED: March 26, 1827, in Vienna
WORK COMPOSED: 1821–22
Beethoven’s early works show a young genius absorbing the lessons of Haydn and Mozart while exploring nascent Romanticism. His middle works express a fully emergent personality and attending need/desire to share it with the world, while his late works aspire to transcend the boundaries of earthly strife. It is as if he were addressing a “higher” audience, be it his own refined consciousness or that level of communication many call spiritual. At age 51 Beethoven was not “old” in years, but life had exacted a great toll on his physical and psychic energy and in his final piano sonatas and string quartets, he experimented with new modes of expression that would better serve his hard-fought insights and revelations. Such a work is his ultimate piano sonata, the great C minor, Op. 111.
The opening Maestoso–Allegro con brio ed appassionato starts — or startles — with an aggressive dissonant gesture. The two descending notes that launch the piece in an atmosphere of stormy pessimistic defiance, rendered increasingly so by the subterranean rumbling trills in the keyboards deep, dark regions as well as by the hard-edged dotted rhythm. The electric charge is accentuated by the preparation and final eruption of the upward and downward lurching primary theme. It is as if Beethoven were distilling decades of strife and pain into this assaultive statement. Still more, the use of octave doubling adds even more power to the music, only slightly mollified by fugal writing later in the movement.
A brief coda leads to an entirely different emotional world in the far longer concluding movement, marked Arietta: Adagio molto semplice ed cantabile. The
menace of the first movement recedes into the background with the gentle announcement of the Arietta (“theme”). To be sure, this seemingly benign triplet-laden theme undergoes radical transformation during the following six variations, where Beethoven invests the music with wild syncopated passages that all but predict the rhythmic world of the 20th century — jazz and boogie-woogie are not infrequently mentioned by later commentators. Yet from the fourth variation onwards, the music grows increasingly peaceful, as if Beethoven has finally transcended his earthly cares. The much-used but entirely appropriate term “sublime” comes to mind. A long series of multiple trills — “the quaking of Beethoven’s soul” according to the great Chilean pianist Claudio Arrau — adds considerably to the otherworldly serenity of the Sonata’s closing pages.
WOLFGANG AMADEUS MOZART
Sonata in D major, K. 576
Allegro Adagio Allegretto
BORN: January 27, 1756, in Salzburg
DIED: December 5, l791, in Vienna
WORK COMPOSED: 1789
Following an unsuccessful trip to Potsdam, Berlin and Leipzig while in search of much-needed commissions Mozart composed the Sonata in D major, K. 576, his final work in that genre. The opening Allegro begins with a rising arpeggio theme played in unison by both hands. The engaging tune clearly evokes the melodic shape of a “hunting” theme that in an orchestral work would undoubtedly be played by a horn. The more lyrical second subject makes a delayed appearance well into the exposition, and occupies a relatively modest role in the movement. The prevailing modus operandi derives from Mozart’s mature and inventive contrapuntal style, especially in the development section where the music takes a circuitous route through a
PROGRAM NOTES continued
28 SEATTLESYMPHONY.ORG
number of remote keys — a clear forecast of Romantic era harmonic journeys.
The central Adagio begins gently and lyrically in A major, though a melancholy sensibility darkens the mood by chromatic twists and turns as well as a shift into F-sharp minor mid-movement. (That particular key is one seldom encountered in Mozart’s music other than as the tonal center of the Adagio of his Piano Concerto in A major, K. 488 and somewhat briefly in his drama giocoso, Don Giovanni). Even in the coda, where the A-major opening is reprised, fleeting references to F-sharp minor keeps the gloom in mind. Slowly rising scalar passages and tense diminished chords add further unease.
A playful Allegretto born of a simple melody sets the music in motion. Once Mozart presents the tune he immediately adds a contrapuntal second theme constructed from rapid 16th-note triplets. This new motive appears in inverted form above the main theme, creating an example of expert double counterpoint, a nod to Baroque era polyphony. The composer had clearly absorbed old Bach’s rich fugal style that Mozart first fully explored in 1782 when Baron von Swieten, Imperial Viennese Court librarian, had lent the composer scores from his collection of music by the Cantor of Leipzig. (The notable similarly obliged Beethoven.)
FRANZ SCHUBERT
Sonata No. 21 in B-flat major, D. 960
Molto moderato Adante sostenuto Allegro vivace con delicatezza Allegro ma con troppo
BORN: January 31, 1797, Himmelpfortgrund (now
part of Vienna)
DIED: November 28, 1828, in Vienna
WORK COMPOSED: 1828
Schubert was the only member of the first Viennese school (which included Haydn, Mozart and Beethoven) to have been born in the Austrian city of music,
and he spent virtually his entire life there. The son of a diligent school master, his talent for composition blossomed early. Had Beethoven or Haydn died as young as Schubert, their places in history might well have been seriously altered, for neither composer had mastered his art so fully as had Schubert by the time he reached his twenties.
Schubert was, by all accounts, a good pianist — unfailingly musical, capable of a cantabile touch and mindful of the instrument’s ability to convey an expanding range of emotion. He was not, by any stretch, a virtuoso, more for psychological reasons than for simply technical ones. For him, whether in song, symphony or sonata, the musical line and its meaning were paramount; egotistical display was foreign to his sensibilities.
During his pitifully short life, the piano underwent enormous change, thanks to the confluence of a rising class of virtuoso/composers and momentous developments in metallurgy and instrument building. The emerging piano enjoyed a greater frequency range (from lower low notes to higher high notes) and a parallel increase in dynamic range (from whispering pianissimos to thundering fortissimos). Schubert utilized the increased expressive capabilities of the instrument to intensify the feelings that animated the notes.
Nowhere is this more apparent than in the broad opening movement of the B-flat piano sonata. A serene and seemingly untroubled theme unfurls comfortably in the middle range of the piano, but is answered — or completed — by an unexpected and ominous trill deep in the bass. The tension created by these two contrasting fragments generates the entire movement. Schubert plays with the primary theme, weaving it into rhapsodic filigree higher on the keyboard, imbuing it with quietly feverish inquisitiveness. The trills return, even more sinister, the overall mood darkened by unexpected modulations.
That we are privy to a vast internal Schubertian journey is reinforced by the songlike Andante sostenuto — another slow movement, brought off with the
certainty of a true master. For one, the sense of mystery and remoteness gains power by his choice of harmonically-remote C-sharp minor as the key signature. Its spare and longing main theme, intensified by the wide spacing of the actual notes, finds relief in a consoling middle section in A major. The predominantly buoyant scherzo, though animated by a bouncy and innocent main theme, darkens in its minor-key trio.
And what’s this? The finale — a hybrid rondo/sonata — begins not in the tonic B-flat, but in the dominant (G major) of C minor, a precedent set by Beethoven in the finale to his Op. 130 string quartet. The music moves through many keys, making short and fitful stops along the route, before triumphantly sailing into the home port of B-flat major. A brief and brilliant coda affirms the sense of a safe arrival after a glorious, sometimes troubled, journey.
© 2015 Steven Lowe
encoreartsseattle.com 29
SIR ANDRÁS SCHIFFPiano
FORTE: Sir András Schiff is world-renowned and critically acclaimed as a pianist, conductor, pedagogue and lecturer. Schiff has been awarded numerous international prizes. He is an
Honorary Member of the Beethoven House in Bonn in recognition of his interpretations of Beethoven’s works, has received the Wigmore Hall Medal in appreciation of 30 years of music-making at Wigmore Hall, the Schumann Prize awarded by the city of Zwickau, the Golden Mozart-Medaille by the International Stiftung Mozarteum, the Order pour le mérite for Sciences and Arts, the Grosse Verdienstkreuz mit Stern der Bundesrepublik Deutschland and was made a Member of Honour of Vienna Konzerthaus. He was given The Royal Philharmonic Society’s Gold Medal, has been made a Special Supernumerary Fellow of Balliol College (Oxford, UK), and received honorary degrees from Leeds University and Music Schools in Budapest, Detmold and Munich.
DISCOGRAPHY: Schiff has established a prolific discography, and since 1997 has been an exclusive artist for ECM New Series. Recordings for ECM include the complete solo piano music of Beethoven and Janácek, two solo albums of Schumann piano pieces, his second recordings of the Bach Partitas and Goldberg Variations, The Well Tempered Clavier, Books I and II and Beethoven’s Diabelli Variations recorded on two instruments: a Bechstein from 1921 and an original fortepiano from Vienna 1820, the place and time of the composition. The pianist recently completed a recording at Beethovenhaus, Bonn on the Franz Brodmann Fortepiano used also for the Diabelli album. His most recent release is an all-Schubert disc.
BACKGROUND: Born in Budapest, Hungary in 1953, he started piano lessons at age five with Elisabeth Vadász. He continued his musical studies at the Ferenc Liszt Academy with Professor Pál Kadosa, György Kurtág and Ferenc Rados, and in London with George Malcolm.
Photo: Sheila Rock
“Alle guten Dinge sind drei” — all good things are three, according to this German proverb that must have been well-known to Haydn, Mozart, Beethoven and Schubert. Introducing their last three piano sonatas in three concerts — twelve works, twelve being a multiple of three — is a fascinating project that can demonstrate the connections, similarities and differences among these composers.
The sonata form is one of the greatest inventions in Western music, and it is inexhaustible. With our four masters of Viennese classicism it reached an unprecedented height that has never been equaled, let alone surpassed. Mozart and Beethoven were virtuoso pianists while Haydn and Schubert were not, although they both played splendidly (Schubert’s playing of his own Lieder had transported his listeners to higher spheres and brought tears to their eyes). The piano sonatas are central in their œuvres and through them we can study and observe the various stages of their development.
Lateness is relative, of course; Haydn (1733–1809) and Beethoven (1770–1827) lived long. Mozart (1756–1791) and Schubert (1797–1828) died tragically young. It’s the intensity of their lives that matters. In the final year of his life Schubert wrote the last three piano sonatas, the C-major string quintet, the song-cycle “Schwanengesang” and many other works. What more could we ask for? These last sonatas of our four composers are all works of maturity. Some of them — especially those of Haydn — are brilliant performance pieces; others (Beethoven, Schubert) are of a more intimate nature — it is almost as if the listener were eavesdropping on a personal confession.
Both Beethoven and Schubert had worked on their final three sonatas simultaneously; they were meant to be triptychs. Similarly, Haydn’s three “London sonatas” — the only
works in this series that weren’t written in Vienna — were inspired by the new sonorities and wider keyboard of the English fortepianos and belong definitely together. It would be in vain to look for a similar pattern in Mozart’s sonatas. For that let’s consider his last three symphonies — but his late music is astonishing for its masterful handling of counterpoint, its sense of form and proportion, its exquisite simplicity.
Let me end with a few personal thoughts. The last three Beethoven sonatas make a wonderful programme. They can be played together, preferably without a break. Some pianists like to perform the last three Schubert sonatas together. This, at least for me, is not a good idea. These works are enormous constructions, twice as long as those of Beethoven, and the emotional impact they create is overwhelming, almost unbearable. It is mainly for this reason that I am combining Beethoven and Schubert with Haydn and Mozart. They complement each other beautifully, in a perfect exchange of tension and release. Haydn’s originality and boldness never fail to astonish us. Who else would have dared to place an E-major movement into the middle of an E-flat major sonata? His wonderful sense of humour and Mozart’s graceful elegance may lighten the tensions created by Beethoven’s transcendental metaphysics and Schubert’s spellbinding visions.
Great music is always greater than its performance, as Arthur Schnabel wisely said. It is never easy to listen to, but it’s well worth the effort.
NOTE FROM THE ARTISTA SPECIAL MESSAGE FROM SIR ANDRÁS SCHIFF
30 SEATTLESYMPHONY.ORG
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Friday, October 16, 2015, at 8pm
Saturday, October 17, 2015, at 8pm
Sunday, October 18, 2015, at 2pm
GERSHWIN RHAPSODY IN BLUEMCM SEATTLE POPS SERIES
Jeff Tyzik, conductor
Jon Nakamatsu, piano
Doug LaBrecque, baritone
Seattle Symphony
GEORGE GERSHWIN Funny Face Overture 6’
/ Arr. Don Rose
GEORGE GERSHWIN “I Got Rhythm” 4’
“Embraceable You” 4’
“They Can’t Take That Away From Me” 4’
DOUG LABRECQUE, BARITONE
GEORGE GERSHWIN The Man I Love 4’
GEORGE GERSHWIN Allegro [mvmt 1] from Concerto in F 12’
/ Ver: Cambell-Watson JON NAKAMATSU, PIANO
INTERMISSION
GEORGE GERSHWIN Cuban Overture 11’
GEORGE GERSHWIN “Fascinating Rhythm” 4’
“Love Is Here To Stay” 5’
“Swanee” 3’
DOUG LABRECQUE, BARITONE
GEORGE GERSHWIN Rhapsody in Blue 15’
/ Orch. Ferde Grofé JON NAKAMATSU, PIANO
Seattle Pops series Title Sponsor: MCM.
Performances sponsored by Russell Investments.
Jon Nakamatsu’s performances are generously underwritten by The Atsuhiko and Ina Goodwin
Tateuchi Foundation through the Seattle Symphony’s Guest Artists Circle.
Please note that the timings provided for this concert are approximate.
Please turn off all electronic devices and refrain from taking photos or video.
Performance ©2015 Seattle Symphony. Copying of any performance by camera, audio or video recording
equipment, and any other use of such copying devices during a performance is prohibited.
SEATTLE POPS SERIES
TITLE SPONSOR
THE SEATTLE SYMPHONY
THANKS MCM FOR MAKING
THE SEATTLE POPS SERIES POSSIBLE.
32 SEATTLESYMPHONY.ORG
Russell Investments is proud to sponsor the Seattle Symphony’s three performances of Gershwin Rhapsody in Blue.
Russell is a global company, serving clients in 35 countries, but our roots go deep in the Pacific Northwest. Since October 2010 our headquarters have been located right across from Benaroya Hall on Second Avenue in the Russell Investments Center.
Russell’s commitment to the community and our passion for excellence makes our relationship with the Seattle Symphony a natural one. We at Russell express our thanks to you, our friends and neighbors, for supporting the Seattle symphony so faithfully.
JEFF TYZIKConductor
POSTS: Grammy Award
winner Jeff Tyzik,
Seattle Symphony’s
Principal Pops
Conductor, is known for
his brilliant
arrangements, original
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 is in his
22nd season as Principal Pops Conductor
at the Rochester Philharmonic Orchestra.
He holds the same title at the Detroit,
Florida and Oregon symphony orchestras.
HIGHLIGHTS: Tyzik has appeared with the
Boston Pops, the Cincinnati Pops, the New
York Pops, The Philadelphia Orchestra
at the Saratoga Performing Arts Center,
the Los Angeles Philharmonic at the
Hollywood Bowl, and the orchestras of
Pittsburgh, St. Louis, Milwaukee, Houston,
Toronto and Vancouver, B.C. In June 2010
Tyzik made his UK debut in Edinburgh
and Glasgow with the Royal Scottish
National Orchestra, and in June of 2013
he was invited to conduct the Malaysia
Philharmonic in Kuala Lumpur.
COLLABORATIONS: Tyzik has collaborated
with such diverse artists as Tony Bennett,
The Chieftains, Art Garfunkel, Marilyn
Horne, Wynonna Judd, Mark O’Connor,
John Pizzarelli, Lou Rawls, Arturo
Sandoval, Doc Severinsen, Billy Taylor
and Dawn Upshaw. He has recently
conducted several orchestra programs for
jazz superstar Chris Botti and Glee star
Matthew Morrison.
EDUCATION: Tyzik earned both his
bachelor’s and master’s degrees from
the Eastman School of Music, where he
studied composition and arranging with
Radio City Music Hall’s Ray Wright and jazz
studies with the great band leader Chuck
Mangione. Tyzik also studied composition
with American composer Samuel Adler. He
received the Distinguished Alumni Award
from the Eastman School of Music and
was elected to the first-ever class of the
Rochester Musicians Hall of Fame in 2012.
Photo: Sean Turi
JON NAKAMATSUPiano
American pianist Jon
Nakamatsu continues
to draw unanimous
praise as a true
aristocrat of the
keyboard, whose
playing combines
elegance, clarity and
electrifying power.
Nakamatsu came to
international attention in 1997 when he
was named Gold Medalist of the Tenth
Van Cliburn International Piano
Competition, the only American to have
achieved this distinction since 1981.
Nakamatsu has performed widely in North
and South America, Europe and the Far
East, collaborating with such conductors
as James Conlon, Marek Janowski,
Raymond Leppard, Stanislaw
Skrowaczewski, Osmo Vänskä and Hans
Vonk. He also performed at a White
House concert hosted by President and
Mrs. Clinton. Nakamatsu’s extensive recital
tours have featured appearances in New
York’s Carnegie Hall and Lincoln Center,
Washington D.C.’s Kennedy Center, and in
Boston, Chicago, Cincinnati, Paris, London
and Milan.
Photo: Ellen Appel, Van Cliburn Foundation, May 2014
DOUG LABRECQUEBaritone
Doug LaBrecque
thrilled theatre
audiences as The
Phantom and Raoul in
the Harold Prince
production of The
Phantom of the Opera.
In addition, LaBrecque
has starred on
Broadway as Ravenal
in the Hal Prince revival of Showboat, a
role he also performed in Canada and
Chicago. He was featured in Oscar
Hammerstein’s 100th Birthday Celebration
on Broadway at The Gershwin Theatre,
and toured nationally with Les Misérables.
A graduate of University of Michigan he
was also featured in the world premiere of
A Wonderful Life, written by Sheldon
Harnick and Joe Raposo, and starred in
the premiere revival of Kurt Weill and Alan
Jay Lerner’s Love Life. One of the most
prolific singers of his generation, he has
appeared with more than 125 orchestras
worldwide.
Photo: courtesy of Doug LaBrecque
encoreartsseattle.com 33
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As a Founders Circle member, you’ll receive exclusive benefits designed to bring you even closer to the music and musicians, and connect you to a community of supporters who share your commitment to the Seattle Symphony.
• Exclusive access to the elegant Norcliffe Founders Room during intermission at Seattle Symphony concerts• VIP ticketing service and a designated, individualized Symphony contact• Unique and behind-the-scenes opportunities like backstage toasts and Onstage Rehearsals• A post-rehearsal luncheon and season-end celebration with Seattle Symphony musicians
FOUNDERS CIRCLEA BOLD EXPRESSION OF SUPPORT.AN EXCLUSIVE CONCERT EXPERIENCE.
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SEATTLESYMPHONY.ORG/GIVE
Monday, October 19, 2015, at 7:30pm
IVETA APKALNAFLUKE/GABELEIN ORGAN RECITAL SERIES
Iveta Apkalna, organ
CHARLES-MARIE WIDOR Toccata from Organ Symphony No. 5 6’ in F minor, Op. 42, No. 1
CÉSAR FRANCK Pièce héroïque, No. 3, FWV 37 from 8’ Trois pièces pour grand orgue (“Three Pieces for Grand Organ”)
JOHANN SEBASTIAN BACH Pièce d’orgue (Fantasia) 9’ (“Organ Piece (Fantasy)”), BWV 572
Très vitement— Gravement— Lentement—
PHILIP GLASS Act III Conclusion from Satyagraha 7’
/ Arr. Michael Riesmann
AIVARS KALĒJS Toccata on the Chorale 5’ “Allein Gott in der Höh sei Ehr” (“All Glory be to God on High”), Op. 56
INTERMISSION
DMITRI SHOSTAKOVICH Passacaglia from Lady Macbeth of Mtsensk, 7’ Op. 29
FRANZ LISZT Funérailles 15’
/ Trans. Lionel Rogg
SIR GEORGE THALBEN-BALL Variations on a Theme by Paganini 8’ for Organ Pedals
JOHANN SEBASTIAN BACH Passacaglia in C minor, BWV 582 13’
Please note that the timings provided for this concert are approximate.
Please turn off all electronic devices and refrain from taking photos or video.
Performance ©2015 Seattle Symphony. Copying of any performance by camera, audio or video recording
equipment, and any other use of such copying devices during a performance is prohibited.
CHARLES-MARIE WIDOR
Toccata from Organ Symphony No. 5 in F minor, Op. 42, No. 1
BORN: February 21, 1844, in Lyon
DIED: March 12, 1937, in Paris
WORK COMPOSED: 1887
Aristide Cavaillé-Coll (1811–99) revolutionized organ building with the nearly 500 instruments he produced during his long career. Charles-Marie Widor, the legendary organist at St. Sulpice in Paris, wrote his “organ symphonies” for this new instrument, emulating the multiplicity of sound colors available to a large orchestra, and expanding the formal possibilities of organ music beyond preludes, fugues, fantasies and other genres connected to the Bach tradition.
Widor completed ten organ symphonies, of which the fifth has been particularly successful, in great part because of its brilliant Toccata, the last of its five movements, often performed separately. In this dazzling work, a simple harmonic progression, repeated in many keys, gives rise to an extraordinary display of virtuosity.
CÉSAR FRANCK
Pièce héroïque, No. 3, FWV 37 from Trois pièces pour grand orgue (“Three Pieces for Grand Organ”)
BORN: December 10, 1822, in Liège, Belgium
DIED: November 8, 1890, in Paris
WORK COMPOSED: 1878
In 1878 another Cavaillé-Coll organ was unveiled in Paris, this time at the new Palace of the Trocadéro, home of the Universal Exposition. It was the first organ in France to grace a concert hall rather than a church. The organizers put on no fewer than 15 recitals during the exposition, given by as many organists. One of the most distinguished organist-
PROGRAM NOTESby Peter Laki
encoreartsseattle.com 35
PROGRAM NOTES continued
composers to appear at these concerts was César Franck, who wrote three new works for the Trocadéro concert, including the present Pièce héroïque.
The piece opens with what one commentator called a “menacing, sinister, growling theme,” moves on to a “contemplative middle section” and ends with a “triumphant” set of major chords. The harmonies are rich in those chromatic key shifts that give the music of late Romanticism such a sensuous quality; as a contrast, moments of great tonal stability appear at crucial junctures. A striking two-note pedal motive, introduced early in the piece, becomes more and more prominent until it comes to dominate the truly “heroic” conclusion.
JOHANN SEBASTIAN BACH
Pièce d’orgue (Fantasia) (“Organ Piece (Fantasy)”), BWV 572
BORN: March 31, 1685, in Eisenach, Germany
DIED: July 28, 1750, in Leipzig, Germany
The present fantasia appears under the French title Pièce d’orgue in a manuscript copy probably made by Bach’s cousin J. G. Walther.
In each of the work’s three sections, one particular musical idea is taken as far as it will go. In the first section, the idea is the fast-moving, virtuoso passagework characteristic of the toccata genre. The second section is an extended polyphonic elaboration of a different idea, namely an ascending scale. Finally, the third section based on a chromatic descending scale (proceeding in half-steps). Over it we hear a series of arpeggios (broken chords) with passing tones that keep clashing with the fundamental harmonies. These dissonant clashes serve to create an astounding level of harmonic tension before the final resolution arrives.
PHIL IP GLASS
Act III Conclusion from Satyagraha/ Arr. Michael Riesman
BORN: January 31, 1937, in Baltimore
WORK COMPOSED: 1987
Twenty-eight years after its premiere, Satyagraha ranks as one of the iconic operas of the late 20th century. Using Gandhi’s struggle for justice in South Africa as his topic, Glass used his unmistakable, arpeggio-filled personal style to pay tribute to the satyagraha (non-violent resistance) championed by the great Indian leader. We shall hear the final moment of the opera, where Gandhi leads a march of protest against the government’s discriminatory policies; the constantly repeated scales and broken chords suggest the peaceful feelings of those who, in the words of the libretto, “thrust the evil back and set virtue on her seat again.”
AIVARS KALĒJS
Toccata on the Chorale “Allein Gott in der Höh sei Ehr” (“All Glory be to God on High”), Op. 56
BORN: April 22, 1951, in Riga, Latvia
WORK COMPOSED: 1998
Bach’s music has been firmly established in Riga, the Latvian capital, ever since the Thomaskantor’s last pupil, Johann Gottfried Müthel (1728–88) moved there in the 1750s. Organist-composer Aivars Kalējs is one of the most important contemporary representatives of this long-standing tradition.
“Allein Gott in der Höh sei Ehr” (“All Glory be to God on High”) is one of the oldest Lutheran chorales; it dates from the earliest days of the Reformation. Kalējs’ treatment of the melody is highly virtuosic; the choral melody emerges only gradually from a background of cascading arpeggios. The melody is placed mostly in the pedal register, though at one point it is introduced in canon between the treble and the
pedal. In the true tradition of the toccata, the fast motion never stops, and the momentum is maintained unbroken to the end.
DMITRI SHOSTAKOVICH
Passacaglia from Lady Macbeth of Mtsensk, Op. 29
BORN: September 25, 1906, in St. Petersburg
DIED: August 9, 1975, in Moscow
WORK COMPOSED: 1932
Shostakovich had a special fondness for the passacaglia. He used this Baroque form — essentially a set of variations over an unchanging bass line — in many of his works, such as the Eighth Symphony or the First Violin Concerto, always with tragic connotations. In the opera Lady Macbeth of Mtsensk, a passacaglia appears just after Katerina, the protagonist, has killed her evil father-in-law with poisoned mushrooms. It was Shostakovich’s first passacaglia, and perhaps the most powerful of them all. After a few measures of dissonant chords, the theme appears; as the textures become more complex, the music becomes more impassioned. At the climactic moment, the passacaglia theme moves to the highest register; then the tension subsides and the theme sinks deeper and deeper in register, into a deeper and deeper melancholy.
FRANZ L ISZT
Funérailles/ Arr. Lionel Rogg
BORN: October 22, 1811, in Doborján, Hungary
(now Raiding, Austria)
DIED: July 31, 1886, in Bayreuth, Germany
WORK COMPOSED: 1849
It stands to reason that Funérailles, Liszt’s expansive piano elegy on the defeat of the Hungarian War of Independence in 1849, should hold particular appeal for organists. The piece
36 SEATTLESYMPHONY.ORG
IVETA APKALNAOrgan
FORTE: Iveta Apkalna
has succeeded to
“wipe off the dust” from
the queen of all
musical instruments
and establish a new
reputation for the
organ. Through her
compelling
performances,
technical brilliance and charismatic stage
presence, she has achieved star status, a
privilege usually reserved for conductors,
singers, pianists and violin virtuosos.
PERFORMANCE HIGHLIGHTS: As a soloist,
Apkalna appears in concerts throughout
the world, performing in prestigious
concert halls in Berlin, Budapest, Cologne,
Hamburg, Leipzig, Luxemburg, Luzern,
Moscow, San Francisco and Vienna. She
has appeared with some of the world’s
top orchestras including the Bavarian
Radio Symphony, Berlin Philharmonic,
Berlin Radio Symphony, Hamburger
Philharmoniker, Kremerata Baltica, Latvian
National Orchestra and Symphony
Orchestra of the West German Radio.
AWARDS & RECOGNITION: Apkalna
has gained international recognition in
various prestigious competitions. She
became the first organist ever to receive
the title of “Best Performing Artist” given
by the German Music Award ECHO
Klassik in 2005. In 2008 the German/
French TV network ARTE +7 broadcast a
documentary about her entitled Dancing
with the Organ.
BACKGROUND: Born in Rezekne, Latvia,
Apkalna studied piano and organ at
J. Vitols Latvian Academy of Music and
continued her studies at the London
Guildhall School of Music in England.
She is the recipient of a grant from the
German Academic Exchange Service,
which allowed her to continue to further
her performance skills at the Stuttgart
Academy of Music and Fine Arts. She
currently lives in Berlin and in Riga.
Photo: Nils Vilnis
traverses an uncommonly wide range of emotions from a solemn funeral march to heartfelt mourning song to a brilliant military march and back to the funeral again. It unites lament and triumph similarly to the great symphonic poems Les Préludes and Tasso. The organ transcription emphasizes the sacred aspects of the funeral rite, and makes the moment of victory appear in the full timbral splendor which only the King of the instruments can offer.
SIR GEORGE THALBEN-BALL
Variations on a Theme by Paganini for Organ Pedals
BORN: June 18, 1896, in Sydney, Australia
DIED: January 18, 1987, in London
WORK COMPOSED: 1962
Paganini’s twenty-fourth caprice for solo violin apparently seems to possess inexhaustible potential for further explorations. After Liszt, Brahms and Rachmaninov (to name but a few), the Australian-born English organist-composer George Thalben-Ball performed the extraordinary feat to adapt the famous theme for pedal solo. Here the organist is required to play double stops with each foot, glissandos going up and down and dance over the keys faster than you’d think is ever possible. Through constant changes in registration, the pedal can play in every octave from the lowest to the highest, sometimes with the help of a fixed drone or sustainer. Only in the tenth and last variation does the organist use her hands as, quite literally, all the stops are pulled out for the grand coda.
JOHANN SEBASTIAN BACH
Passacaglia in C minor, BWV 582
This grandiose and complex work dates from Bach’s early years, probably between 1708 and 1712, when the young composer worked as court organist
in Weimar. Bach used the passacaglia theme both as a melody and a harmonic foundation. It first appears all by itself in the pedal register, before Bach adds the additional voices. We subsequently hear no fewer than twenty variations on the theme; in some of them, the passacaglia theme wanders from the bass to the treble, then to the middle register, before returning to the bass. (Although Bach wrote other works on a ground bass, this is the only time he actually used the designation passacaglia.)
The passacaglia is followed by a fugue in which the same theme serves as a point of departure for a polyphonic development of a different sort. As in the passacaglia, the main theme is constantly present, moving from voice to voice; but the melodic and rhythmic independence of the voices is even greater. A suspenseful halt on an unexpected chord prepares the powerful ending.
© 2015 Peter Laki
encoreartsseattle.com 37
Thursday, October 22, 2015, at 7:30pm
Sunday, October 25, 2015, at 2pm
BEETHOVEN PIANO CONCERTO NO. 1
Ludovic Morlot, conductor
Alexander Melnikov, piano
Seattle Symphony
IGOR STRAVINSKY Symphony in C 28’
Moderato alla breve
Larghetto concertante
Allegretto
Largo—Tempo giusto
LUDWIG VAN BEETHOVEN Piano Concerto No. 1 in C major, Op. 15 37’
Allegro con brio
Largo
Rondo: Allegro
ALEXANDER MELNIKOV, PIANO
INTERMISSION
WOLFGANG AMADEUS MOZART Symphony No. 41 in C major, K. 551, “Jupiter” 26’
Allegro vivace
Andante cantabile
Allegretto
Molto allegro
Pre-concert Talk one hour prior performance.
Speaker: Lisa Maria d’Aquila, Music Instructor & Lecturer
Ask the Artist on Thursday, October 22, in the Samuel & Althea Stroum Grand Lobby following
the concert.
Alexander Melnikov’s performances are generously underwritten by Ilene and Elwood Hertzog
through the Seattle Symphony’s Guest Artists Circle.
Please note that the timings provided for this concert are approximate.
Please turn off all electronic devices and refrain from taking photos or video.
Performance ©2015 Seattle Symphony. Copying of any performance by camera, audio or video recording
equipment, and any other use of such copying devices during a performance is prohibited.
PROGRAM NOTES by Paul Schiavo
In CAt early points in their studies, nearly
all aspiring pianists come upon two
milestone pieces: the first Prelude of
J. S. Bach’s The Well-Tempered Clavier and Mozart’s Sonata “for Beginners,”
K. 545. Besides characteristic keyboard
figuration, each of these works initiates
the student musician into principles of
melodic line, harmonic movement and
compositional form. Significantly, each
is composed in the key of C.
Of the 24 major and minor scales
and the constellations of harmonies
inherent in them, C major is in many
ways the most basic and indispensable.
Whether by tradition or through
some intrinsic quality that most of us
can detect only subliminally, C major
provides a sense of stability that,
paradoxically, allows a wide harmonic
horizon. From this key, a composer
can touch on other harmonic regions
without losing C major’s strong
fundamental identity.
Different musicians have used C major
in different ways. The musicologist
Alfred Einstein observes that
Beethoven’s compositions in C major
have a specific robust brilliance, while
Mozart’s entail a “prismatic” tonal light.
Our program offers examples of each
of these conceptions of C major, as well
as that of a modern composer working
in a neo-classical vein.
IGOR STRAVINSKY
Symphony in C
Moderato alla breve Larghetto concertante Allegretto Largo—Tempo giusto
BORN: June 17, 1882, in Oranienbaum, Russia
DIED: April 6, 1971, in New York
WORK COMPOSED: 1938–40
WORLD PREMIERE: November 7, 1940, in
Chicago. The composer conducted the
Chicago Symphony Orchestra.
Stravinsky’s Symphony in C was born of a long creative process undertaken in difficult circumstances. The composer wrote its first movement in the autumn
38 SEATTLESYMPHONY.ORG
PROGRAM NOTES by Paul Schiavo
of 1938, in Paris, which had been the center of his activities for nearly three decades. But early the following year he was forced to enter a sanitarium in the alpine village of Sancellmoz for treatment of tuberculosis, an illness that recently had claimed the lives of his wife and daughter. There he completed the second movement. In September 1939, just after the outbreak of World War II, he sailed for the United States. Initially, Stravinsky went to Boston, where he delivered a series of lectures at Harvard University and wrote the third movement of his symphony. Upon completing his obligation to Harvard, he moved to Los Angeles. Once settled into his new surroundings, Stravinsky completed the symphony’s fourth and final movement.
Paris, the sanitarium at Sancellmoz, Boston, California — the four movements of the Symphony in C trace the path of Stravinsky’s flight across six thousand miles during the course of two years. And yet the music reveals no sign of its fitful genesis. Quite the contrary, it is distinguished by a high degree of conceptual unity. This is more than a matter of stylistic consistency among the different portions of the work. Stravinsky binds the symphony’s various sections together with shared themes and motifs, the cross references being particularly strong between the first and final movements.
Moreover, nothing about the symphony reflects the personal losses its author had recently suffered, nor the turbulent world situation at the time. Stravinsky is not the first symphonist to refrain from autobiographical revelation or topical reference in his music. Mozart composed his “Jupiter” Symphony at a time of deepening personal crisis, as we will see, and Beethoven’s joyous Second Symphony is contemporary with his Heiligenstadt Testament, the anguished letter despairing at his growing deafness. One could cite other examples.
Stravinsky studied select Haydn and Beethoven symphonies, as well as Tchaikovsky’s First, while composing his own. His rather precise observance of the four-movement format and many other conventions of these classic symphonies leaves no doubt that he
sought deliberately to reinterpret their genre in his own language.
WHAT TO LISTEN FOR: Stravinsky prefaces
the first movement with an introduction
in moderate tempo. Here he establishes
a three-note motif that proves to be a
“motto” figure, one that recurs in varied
form throughout the composition. It plays
a particularly important role during the
development passage that lies at the
heart of the first movement. The finale
also begins with an introduction in slow
tempo — in this case, a striking duet for
bassoons in their low register against
statements of an unchanging chord in the
horns. The main body of the movement
includes much retrospection: a variation of
the principal melody of the first movement,
a return to the bassoon-and-horn colloquy
heard earlier, and a recollection of the
three-note “motto” in slow motion.
Scored for piccolo, 2 flutes, 2 oboes, 2 clarinets and 2 bassoons; 4 horns, 2 trumpets, 3 trombones and tuba; timpani and strings.
LUDWIG VAN BEETHOVEN
Piano Concerto No. 1 in C major, Op. 15
Allegro con brio Largo Rondo: Allegro
BORN: December 16, 1770, in Bonn
DIED: March 26, 1827, in Vienna
WORK COMPOSED: 1795 or 1796
WORLD PREMIERE: Unknown, but possibly
December 1795 in Vienna or May 1796 in Berlin,
and not later than 1798 in Prague. On any of
these occasions, the performance would have
featured the composer as soloist, conducting
from the keyboard.
Beethoven composed two works for piano and orchestra during his early years in Vienna, where he settled in 1792. The Piano Concerto in C, completed in 1795 or 1796 and now known as No. 1, Op. 15, actually was the second he produced; but since the composer preferred this work to its predecessor, the Piano Concerto in B-flat, Op. 19, it was published earlier
and consequently given a more forward position in the catalogue of his works.
Beethoven may have played the concerto in Vienna as part of a charity concert given in the Austrian capital in December of 1795. He probably also presented the work during a trip to Berlin the following year, and he definitely performed it in Prague in 1798, at which time Jan Tomašek, another accomplished pianist, heard him and reported on “Beethoven’s magnificent playing ... ; indeed, I found myself so profoundly bowed down that I did not touch my pianoforte for several days.”
Tomašek’s impression notwithstanding, the C-major Concerto is not a virtuoso showpiece in the usual sense of the term. There are, to be sure, moments of brilliant keyboard passagework throughout the piece, but these are always in the service of larger musical purposes. Like all Beethoven’s concertos, this one is notable for its thoughtful conception and musical integrity rather than as a vehicle for pianistic display.
The work begins in the tradition of the “military concerto” openings often used by Mozart, though the first movement takes on a more varied expressive complexion. The ensuing Largo is elegant and dream-like. Beethoven, in his own performance, must have “produced a magical effect,” as his pupil Carl Czerny described the composer’s playing of slow, sustained passages. The finale, by contrast, brings the type of musical humor often found in the works of Beethoven’s occasional teacher, Franz Joseph Haydn, as well as an energetic episode in “Turkish” style.
WHAT TO LISTEN FOR: Beethoven
establishes the martial character of the
concerto’s initial theme through its proud
demeanor, a conspicuous fanfare motif
and the use of trumpets. The introduction
of the second subject provides an
example of Beethoven’s fondness for
harmonic deception. A rustling figure in
the violins promises a shift to a minor key,
but the melody itself appears smoothly
in a sunny major tonality (though it does
not remain there for long). The humorous
character of the finale extends to the
closing moments. Here Beethoven slows
encoreartsseattle.com 39
PROGRAM NOTES continued
the tempo to a decorous adagio only to
pull the rug from under us with a sudden
rush to the final measure.
Scored for 1 flute, 2 oboes, 2 clarinets and 2 bassoons; 2 horns and 2 trumpets; timpani and strings.
WOLFGANG AMADEUS MOZART
Symphony No. 41 in C major, K. 551, “Jupiter”
Allegro vivace Andante cantabile Allegretto Molto allegro
BORN: January 27, 1756, in Salzburg
DIED: December 5, 1791, in Vienna
WORK COMPOSED: 1788
WORLD PREMIERE: Unknown
Our concert concludes with one of the great works of Western music. Mozart’s Symphony in C major, K. 551, was the last of three symphonies its author wrote with remarkable speed during the summer of 1788. The origin of this symphonic trilogy — to which the Symphony in E-flat, K. 543, and the famous G-minor Symphony, K. 550, also belong — has been the subject of much debate and speculation among Mozart scholars. It was unusual for the composer to create substantial works without a commission or at least the prospect of a performance, yet no occasion for the presentation of these symphonies is known to have existed. Although several theories have been proposed, we cannot say with certainty why Mozart composed these works. The sobriquet “Jupiter,” by which this work has long been known, did not originate with Mozart but, apparently, with an English publisher in the early 19th century. It seems, however, quite appropriate to the Olympian breadth and majesty of the piece.
The work’s opening exemplifies the expressive duality that so thoroughly informs Mozart’s music and, apparently, reflected something fundamental in his character. The long initial subject begins with brief two-part phrases that start vigorously but turn almost at once
pliant and gracious. A second theme offers a similarly complex character. Yet it is the light-hearted and apparently innocuous third melody to which Mozart first turns his attention in the movement’s central “development” section, using its final measure as the subject of a bold contrapuntal passage.
After the exhilarating energy of the opening movement, the second offers music that the eminent Mozart scholar Alfred Einstein called “a broad and deep outpouring of the soul.” There follows a splendid and inventive minuet, enlivened by a skilled yet unobtrusive use of counterpoint.
But it is in the finale that Mozart’s genius for contrapuntal writing fully reveals itself. The famous opening subject gives rise to a succession of subsidiary ideas, which Mozart interweaves in various ways. The closing section of the movement offers a breathtaking integration of thematic material.
WHAT TO LISTEN FOR: The symphony’s
initial subject begins with brief two-part
phrases that start vigorously but turn
almost at once pliant and gracious.
A second theme offers a similarly
complex character. Yet it is the light-
hearted and apparently innocuous third
melody to which Mozart first turns his
attention in the opening movement’s
central “development” section, using its
final measure as the subject of a bold
contrapuntal passage.
Contrapuntal textures inform the slow movement and minuet also. None of this, however, prepares us for the wealth of polyphonic invention in the finale. The movement’s famous four-note motif emerges quietly in the violins. As the theme begun by this motif unfolds, Mozart adds to it a pair of counter-subjects: a brief fanfare followed by a descending arabesque figure; and an ascending flourish, first heard in the strings. These subsidiary motifs also embroider the second subject, announced by the violins. After brilliantly elaborating these ideas, Mozart begins the concluding section by presenting the principal melody with the second subject added as a counter-theme. Quickly he adds both of the counter-subjects heard earlier, and for another twenty glorious
measures plays all four of these thematic ideas against each other in a magnificent contrapuntal tour de force.
Scored for 1 flute, 2 oboes and 2 bassoons; 2 horns and 2 trumpets; timpani and strings.
© 2015 Paul Schiavo
DECEMBER 30 & JANUARY 2 & 3
BEETHOVEN SYMPHONY NO. 9Andrew Grams, conductor Caitlin Lynch, soprano Sasha Cooke, mezzo-soprano Daniel Shirley, tenor Corey McKern, baritone Seattle Symphony Chorale Seattle Symphony
40 SEATTLESYMPHONY.ORG
Friday, October 23, 2015, at 10pm
Samuel & Althea Stroum Grand Lobby
[UNTITLED] 1[UNTITLED] SERIES
Ludovic Morlot, conductor
Seattle Symphony
RICHARD KARPEN Program Music (World Premiere) 17’
JOËL-FRANÇOIS DURAND Mundus Imaginalis (World Premiere) 14’
HUCK HODGE pulse – cut – seethe – blur (World Premiere) 15’
Please note that the timings provided for this concert are approximate.
Please turn off all electronic devices and refrain from taking photos or video.
Performance ©2015 Seattle Symphony. Copying of any performance by camera, audio or video recording
equipment, and any other use of such copying devices during a performance is prohibited.
ALEXANDER MELNIKOVPiano
FORTE: “Melnikov’s
playing has wonderful
colour and imagination ...
His pianissimi are
astonishing, with long,
meticulously nuanced
passages often remaining
very, very quiet, while, in
the sculpted fugues, the
intensification of volume
runs to a purposeful plan ... Everything is
testament to reflection and skill, yet the
pianist is not lecturing, but laughing,
dreaming, lamenting and dancing.”
(Frankfurter Allgemeine Zeitung)
PERFORMANCE HIGHLIGHTS: As a
soloist, Melnikov has performed with
orchestras including the BBC Philharmonic,
Gewandhausorchester Leipzig,
HR-Sinfonieorchester, Munich Philharmonic,
NDR Sinfonieorchester, NHK Symphony,
Philadelphia Orchestra, Rotterdam
Philharmonic, Royal Concertgebouw
Orchestra and Russian National Orchestra,
under conductors such as Teodor
Currentzis, Charles Dutoit, Valery Gergiev,
Philippe Herreweghe, Paavo Järvi and
Mikhail Pletnev.
RECORDINGS & COLLABORATIONS: Melnikov
records exclusively for Harmonia Mundi, and
his association with them arose through his
regular recital partner, violinist Isabelle Faust,
with whom he recorded the Beethoven
sonatas for violin and piano in 2010, a CD
which won both a Gramophone Award and
Germany’s ECHO Klassik Prize. This CD was
also nominated for a Grammy. Other chamber
music collaborations include performances
with Andreas Staier (harpsichord) that set
excerpts from Bach’s Well-Tempered Clavier
in musical dialogue with Shostakovich’s 24
Preludes and Fugues, as well as cellists
Alexander Rudin and Jean-Guihen Queyras,
and baritone Georg Nigl.
BACKGROUND: Alexander Melnikov
graduated from the Moscow Conservatory
under Lev Naumov. His most formative
musical moments in Moscow include his
early encounter with Svjatoslav Richter,
who thereafter regularly invited him to
festivals in Russia and France. He was
awarded important prizes at such eminent
competitions as the International Robert
Schumann Competition in Zwickau (1989)
and the Concours Musical Reine Elisabeth in
Brussels (1991).
Photo: Martin Lengemann
encoreartsseattle.com 41
Composer Richard Karpen (b. 1957) joined
the University of Washington faculty in
1989 and became Director of the School of
Music in 2009. Many of his groundbreaking
compositions include advanced computer
technology, but he also continues to write
for instrumental ensembles, as in his new
work for chamber orchestra, Program
Music, commissioned by the Seattle
Symphony.
The term “program music” implies an
instrumental composition that conveys a
specific story or idea, such as Berlioz’s
Symphonie fantastique (with its vivid
Witches’ Sabbath) or the tone poems of
Strauss. Karpen’s Program Music plays
against that convention by presenting music
that is entirely self-contained and austere:
it has no performance indication other than
a tempo of 72 beats per minute, and the
written parts contain no dynamics or phrase
markings, only finely woven strands of
interlocking phrases and precise rhythms
that the musicians shape according to their
own instincts.
Karpen explained that his title, Program
Music, signifies “that there is actually a story
for each listener each time we listen, and
while we listen we are thinking, seeing,
feeling. We are living while listening.”
He recalled having his own formative
experience, at age 16, when he first heard
the programmatic Manfred Symphony by
Tchaikovsky, noting, “It grabbed me and I
had to listen to it over and over again. But
at the time I had no idea what the ‘program’
was.”
Karpen summarized the philosophy at the
heart of his Program Music:
“Works of art do not contain knowledge, but
rather they are complex and refined vehicles
for revealing knowledge. The amazing thing
about art is that the knowledge is revealed
personally to each reader or viewer or
listener, and also to the artists themselves.
I don’t think that artists create. I think that
we discover, and our artworks guide the
audience through their own experiences of
the discoveries.”
Joël-François Durand (b. 1954), a native
of Orleans, France, studied with some of
Europe’s most progressive composers,
including Ferneyhough, Ligeti, Berio and
Nono. He has taught Composition at the
University of Washington since 1991, and he
continues to make his home in Seattle. For
this commission from the Seattle Symphony,
Durand created Mundus Imaginalis for
a large mixed ensemble, with the score
dedicated to Ludovic Morlot.
Durand’s title and inspiration come from the
book The Necessary Angel by the Italian
philosopher Massimo Cacciari, building upon
a term coined by the French philosopher
Henri Corbin. The invented phrase in Latin,
Mundus Imaginalis, has a more subtle
meaning than simply “Imaginary World” — it
is meant to evoke an “intermediary universe”
between the real and the imagined, or to
put it another way, a space determined by
“the relationship of the natural to the spiritual
world.” This Mundus Imaginalis is real in
its own way, but to be sensed it “requires
its own faculty of perception, namely,
imaginative power.” (These quotations come
from Ruth Horine’s translation of a paper
Corbin presented in 1964.)
Durand translated these theories of a
Mundus Imaginalis into a composition
that he conceived as “a movement from
the exterior toward the interior world of
the sound.” The relationship between
these two worlds plays out in the musical
material, such as at the beginning, with the
“superimposition of two different layers
based on the opposition between regular
and irregular rhythmic patterns.” The work
reaches its second main section with the
arrival of the strings, at which point “the layer
with regular pulsations starts to regulate
some parts of the melodic discourse,
triggering the start and end of phrases, a
tendency which becomes more and more
generalized in the third and final section of
the work.”
Besides the interplay of rhythmic layers,
the other significant transformations occur
in the types of pitches being used. At first,
the notes are limited to the twelve standard
pitches of the chromatic scale (i.e. all the
white and black keys of a piano). In the
second section, quarter-tones fill in the
unfamiliar spaces between the tones, and
by the end pitches subdivide even further
to create an “ever-finer microtonal world,”
one guided by the natural harmonics of the
note E-flat, a sound established by the tuba,
horn and contrabass (with its lowest string
tuned down from E to E-flat). In Durand’s
conception, “All these dimensions support
a journey that ultimately bears relation to
the title of the work — the discovery of a
Mundus Imaginalis through an ever more
refined perception of the world.”
Huck Hodge (b. 1977) joined the University
of Washington faculty after receiving his
doctorate from Columbia University in
2008. In his brief career, Hodge has already
garnered some of the most prestigious
accolades in his field, including the
Gaudeamus Prize in 2008, the Rome Prize
from the American Academy in 2010 and a
Guggenheim Fellowship in 2012.
Hodge’s initial inspiration for his new work
for the Seattle Symphony, pulse – cut –
seethe – blur (2015), emerged while he
was reading about the history of alchemy.
Building off the idea of the transmutation of
substances (as in the age-old quest to turn
base metals into gold), Hodge developed
a musical parallel, starting with “a circular
motive that I think of as being a sort of
incantation,” heard in the first downward
swoop that launches the piece into motion.
Later the same motive is harmonized
with “rough, dissonant timbres, evoking
the emergence of a pure substance from
base materials.” The mystical qualities
of the music are amplified by the many
unconventional sounds and extended
techniques, including blown air and key
clicks from the wind instruments, erratic
sliding and scratching from the strings, and
virtuosic writing for the harp and percussion
that leaves many details open for the
performers to improvise.
Drawing on another historical tradition,
Hodge developed musical equivalents to
sfumato, chiaroscuro, cangiante and unione,
the four canonical modes of Renaissance
painting. Hodge’s use of “multiple
simultaneous but non-unison presentations
of a motive” reflects the sfumato technique
of blurring edges to make transitions from
dark to light imperceptible, or the closely
related unione, which achieves the same
effect with color transitions. Chiaroscuro,
the practice of forming a strong contrast
between light and dark, corresponds to
harmonies built with wide spaces between
low and high pitches. Cangiante, the art of
changing from one color to another, appears
in the music as a “constant timbral shifting”
or “crossfading.”
© 2015 Aaron Grad
PROGRAM NOTES by Aaron Grad
42 SEATTLESYMPHONY.ORG
Tuesday, October 27, 2015, at 7:30pm
Illsley Ball Nordstrom Recital Hall
BERNSTEIN & SHOSTAKOVICHCHAMBER SERIES
Zartouhi Dombourian-Eby, flute • Dan Williams, oboe • Laura DeLuca, clarinet •
Paul Rafanelli, bassoon • Jonathan Karschney, horn • Artur Girsky, violin •
Cordula Merks, violin • Mikhail Shmidt, violin • Meeka Quan DiLorenzo, cello •
Walter Gray, cello • Jessica Choe, piano • Alexander Melnikov, piano •
Oana Rusu Tomai, piano
LEONARD BERNSTEIN Piano Trio 16’
Adagio non troppo
Tempo di marcia
Largo
CORDULA MERKS, VIOLIN
MEEKA QUAN DILORENZO, CELLO
JESSICA CHOE, PIANO
ELLIOTT CARTER Woodwind Quintet 8’
Allegretto
Allegro giocoso
ZARTOUHI DOMBOURIAN-EBY, FLUTE
DAN WILLIAMS, OBOE
LAURA DELUCA, CLARINET
PAUL RAFANELLI, BASSOON
JONATHAN KARSCHNEY, HORN
GEORGE ENESCU Violin Sonata No. 3 in A minor, Op. 25, 25’ dans le caractère populaire roumain
Moderato malinconico
Andante sostenuto e misterioso
Allegro con brio, ma non troppo mosso
MIKHAIL SHMIDT, VIOLIN
OANA RUSU TOMAI, PIANO
INTERMISSION
DMITRI SHOSTAKOVICH Piano Trio No. 2 in E minor, Op.67 28’
Andante
Allegro con brio
Largo
Allegretto
ARTUR GIRSKY, VIOLIN
WALTER GRAY, CELLO
ALEXANDER MELNIKOV, PIANO
Please note that the timings provided for this concert are approximate.
Please turn off all electronic devices and refrain from taking photos or video.
Performance ©2015 Seattle Symphony. Copying of any performance by camera, audio or video recording
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PROGRAM NOTESby Steven Lowe
LEONARD BERNSTEIN
Piano Trio
Adagio non troppo Tempo di marciaLargo
BORN: August 25, 1918, in Lawrence,
Massachusetts
DIED: October 14, 1990, in New York City
WORK COMPOSED: 1937
WORLD PREMIERE: 1937, at Harvard University
in Cambridge, Massachusetts, by the Madison
Trio
Nineteen-year-old Leonard Bernstein
fashioned the Piano Trio while a student
at Harvard University under Walter Piston.
Years later Bernstein reused some of
the music from the Trio, for example, the
opening of the second movement found
new life in the musical On the Town.
Marked Adagio non troppo, the first section
of the opening movement sets the initial
mood with a sad and lyrical tune heard first
from the cello, followed quasi-canonically
by the violin and then by the piano. The
engaging theme goes through expanded
development when all three players join
forces with the strings on melody enriched
by rippling arpeggios on the piano. The
pace quickens in the allegro vivace second
part of the movement, galvanized by
punching chords, Baroque-like keyboard
figure and rapid runs derived from the
melody. A slow reprise of the opening tune
begins in unison fortissimo that dies away
to a whisper with a sweet melody on violin
over a slow “walking” cello line.
The second movement, Tempo di marcia, is
a set of variations rife with “blue” notes from
jazz. As one might expect, the music is filled
with buoyant energy and humorous asides,
heard immediately in the pizzicato string
opening, and lots of syncopation. Quirky
stop-and-start variations dot the landscape
and provide contrasting sonorities from
the ever-changing partnerships among the
instruments.
A tender variant of the work’s first
movement’s main quietly sets the Largo
encoreartsseattle.com 43
in slow motion but soon evolves into an
allegro vivo e molto ritmico that begins with
a rapid “walking” bass in the cello before
jumping forward with great hammering verve
from the piano. Elements from the first two
movements recur, such as syncopations, wild
string figures and pizzicatos. A bold cello
solo ultimately gives the nod to the piano’s
bubbling and upbeat piano glissando that
comprises the movement’s coda.
ELLIOTT CARTER
Woodwind Quintet
AllegrettoAllegro giocoso
BORN: December 11, 1908, in New York City
DIED: November 5, 2012, in New York City
WORK COMPOSED: 1948
WORLD PREMIERE: February 21, 1949,
Radio broadcast; first concert performance
February 27, 1949
Until his death Elliott Carter remained
an active composer of extraordinary
achievement and complexity. Much of the
music he wrote in the past half-century
makes considerable demands upon
performers and listeners because of its
multi-layered textures and rhythms. An
appealing undercurrent of lyricism informs
his music from the 1930s until the early
‘50s. Yet many of these accessible works
are scarcely known by most concertgoers
because of Carter’s reputation as a
composer of great complexity and
unrepentant modernism.
Carter shared specific thoughts about the
Quintet:
“In 1948 several woodwind players asked
me to write a work for woodwind quintet.
On looking over some earlier quintet
works, I found the composers were in the
habit of overlooking the fact that each of
these instruments has a different sound. I,
on the other hand, was particularly struck
by this, and so decided to write a work that
would emphasize the individuality of each
instrument and that made a virtue of their
inability to blend completely.”
The opening Allegretto revels in perky,
bubbly wit but posits a readily discernible
lyrical bent at far remove from many
concertgoers’ experience (or what they’ve
read or simply heard about Carter’s music).
Terse, economical textures are redolent of
Stravinsky’s neo-classical years. A drone-
like bassoon passage suggests a Baroque
organ’s peddle point over which bright
instrumental colors dance breezily.
Marked Allegro giocoso the concluding
movement adds further syncopation and
toe-tapping energy. Unmistakable jazz
elements infuse the music (also suggested
in the Allegretto). Brief lyrical episodes
luxuriate in delightful flute rambling and
scurrying scalar runs by the clarinet.
Friendly barking from the horn enriches the
fascinating timbres of the music.
GEORGE ENESCU
Violin Sonata No. 3 in A minor, Op. 25, dans le caractère populaire roumain
Moderato malinconicoAndante sostenuto e misteriosoAllegro con brio, ma non troppo mosso
BORN: August 19, 1881, in Liveni-Virnau, Romania
DIED: May 5, 1955, in Paris
WORK COMPOSED: 1926
WORLD PREMIERE: January, 1927, in Paris at the
Salle Gaveau, with the composer as violin soloist
and Nicolae Caravia as the pianist
Like Bartók and Kodály in Hungary, and
Vaughan Williams in England, Enescu
drank deeply at the well of his country’s
folkloric tradition, drawing from it both
inspiration and a rich source of musical
ideas. Romania, then as now, was an East-
West crossroads, and its music reflects
the timeless journeys of nomadic visitors
from the Orient. Enescu noted the potent
blending of Egyptian, Gypsy, Magyar and
Slavic ingredients contributing to its exotic
qualities.
Laid out in three movements, the sonata
bears an undercurrent of bittersweet
melancholy that acts as an emotional
thread reflecting the memorial intent
of the music. At the same time, it is an
unmistakable celebration of Romania’s
fertile musical heritage.
Strongly eastern in flavor, the highly
rhapsodic Moderato malinconico derives
from two distinct themes, the one subdued,
the other animated. Eerie glissandi
contribute to the pervasive melancholy.
Here, indeed everywhere in the piece,
his writing for the violin is idiomatic and
inventive. The slow movement claims
primacy as the heart of this deeply-felt
score. Ghostly in its evocative use of
disembodied violin harmonics and shifting
“off-key” tones set against a relentless,
though generally quiet, ostinato in the
piano, the music cannot fail to remind
one of its kinship with the “night music” of
Bartók, even Mahler. A haunting loneliness
impels an empathetic response from the
listener.
The work concludes with a distinctly
rustic dance-rondo. Beginning rather
jauntily if comfortably, the music sharpens
considerably with the sudden appearance
of tone clusters in the piano that add
rhythmic and harmonic tension to the
soaring and explorative violin line. The
music takes on an increasingly serious
demeanor, ending forcefully with the violin
surging over thundering harmonies on the
piano.
DMITRI SHOSTAKOVICH
Piano Trio No. 2 in E minor, Op.67
Andante Allegro con brio Largo Allegretto
BORN: September 25, 1906, in St. Petersburg
DIED: August 9, 1975, in Moscow
WORK COMPOSED: 1944
WORLD PREMIERE: November 14, 1944,
D. Tsïganov, piano; S. Shirinsky, cello;
Shostakovich, piano
Shostakovich was deeply saddened by the
death in 1944 of his long-time friend and
colleague Ivan Sollertinsky. A distinguished
and insightful critic, musicologist and
director of the Leningrad Philharmonic,
Sollertinsky in 1927 had ignited
Shostakovich’s passion for the music of
Gustav Mahler, a spectral presence in many
of Shostakovich’s works.
“I owe all my education to him,”
Shostakovich wrote Sollertinsky’s widow.
“It will be unbelievably hard for me to live
without him...His passing is a bitter blow
for me.” To pay tribute and exorcise his
grief, Shostakovich decided to memorialize
PROGRAM NOTES continued
44 SEATTLESYMPHONY.ORG
Thursday, October 29, 2015, at 7:30pm
SONIC EVOLUTION:UNDER THE INFLUENCECO-PRESENTED WITH EARSHOT JAZZ FESTIVAL
SPECIAL PERFORMANCES
Ludovic Morlot, conductor • Bill Frisell, guitar • Shaprece, vocals •
Roosevelt High School Jazz Band • Seattle Symphony
DEREK BERMEL Migration Series for Jazz Ensemble 32’ and Orchestra
Landscape
Interlude I—
After a Lynching
Interlude II—
A Rumor—
Riots and Moon’s Shine
Interlude III—
Still Arriving
ROOSEVELT HIGH SCHOOL JAZZ BAND
WAYNE HORVITZ Those Who Remain (World Premiere) 15’
Three Stops to Ten Sleep
The Car That Brought You Here Still Runs
BILL FRISELL, GUITAR
INTERMISSION
SHAPRECE Selections to include: 30’
/Arr. Phillip A. Peterson “Dropping Feathers”
“How Are You”
“Remember”
“Wake Up Melting Snow”
“Two Into Wilting”
“Send Down Your Love”
“Unwind”
“Carry You Into Us”
SHAPRECE, VOCALS
Post-concert performance in the Samuel & Althea Stroum Grand Lobby with Bill Frisell.
Co-presented with Earshot Jazz Festival.
Media Sponsor: SECONDINVERSION.ORG
Bill Frisell’s performance is generously underwritten by Grant and Dorrit Saviers through the Seattle Symphony’s Guest Artist Circle.
Wayne Horvitz’s Those Who Remain was commissioned by the Seattle Symphony as part of its
Sonic Evolution project that celebrates the past and future of Seattle’s music scene. Additional support for this commission came from The Seattle Office of Arts and Culture and Linda Breneman.
Please note that the timings provided for this concert are approximate.
Please turn off all electronic devices and refrain from taking photos or video.
Performance ©2015 Seattle Symphony. Copying of any performance by camera, audio or video recording
equipment, and any other use of such copying devices during a performance is prohibited.
his friend in a Piano Trio — the same form
Tchaikovsky had adopted in his elegiac
tribute to his departed friend and mentor
Nicholas Rubinstein half a century earlier.
The Trio formed quickly in Shostakovich’s
heart and mind. At the work’s premiere the
audience had trouble integrating what they
perceived as inconsistencies in the music.
The sad and melancholy nature of much of
the piece is countered by sections that bear
a superficially cheerful, dance-like character
— not unlike how Mahler so often opposed
moments of deep grief with manic parodies
on popular ditties.
A slow and lugubrious fugal introduction
initiates the opening Andante, positing a
theme eerily whistled in high harmonics on
the cello before assumption by the piano
and muted violin. Other melodies of folkloric
persuasion are added to the mix, and the
music builds to a powerful climax before
finally closing in introspective quietude.
Marked Allegro con brio, a scherzo follows,
showing Shostakovich at his most wickedly
sardonic and energetic. The dark irony of
Mahler’s scherzos paces nervously on the
sidelines.
In startling contrast with the scherzo, the
emotional heart of the Trio throbs in the
Largo. Shostakovich cast this movement
in the form of a passacaglia, a theme and
variation form from the 17th century in
which a theme is presented in the bass
and is repeated without change while
the composer weaves variants above it.
Shostakovich maintains a deeply mournful
tone through five wrenching variations
based on eight heavily weighted chords on
the piano.
The concluding Allegretto incorporates
material extracted from the preceding
movements, as well as tunes intended to
evoke Jewish dance music, most likely
a pointed and painful tribute to the great
suffering brought by the Nazis as well as
his own country’s long and shameful history
of anti-Semitism. The Second Piano Trio
fulfills its intended role as a memorial to a
close friend while serving as a powerful
commentary on the incalculable and
unconscionable loss of life brought about
by the darkest side of our human nature.
© 2015 Steven Lowe
encoreartsseattle.com 45
Composer and clarinetist Derek Bermel (b. 1967) has forged a distinctive voice out of his wide-ranging musical interests. He supplemented his formal training at Yale and the University of Michigan with voyages of musical discovery to Israel, Bulgaria, Ireland, Ghana and Brazil, and his list of “compositional heroes” includes Charlie Parker, Stevie Wonder, and the rappers Rakim and Mos Def.
Bermel composed Migration Series for Jazz Ensemble and Orchestra for a 2006 collaboration between the American Composers Orchestra and the Lincoln Center Jazz Orchestra, led by trumpeter Wynton Marsalis (to whom the score is dedicated). Bermel based his music on a set of 60 panels painted in 1941 by the 23-year-old African American artist Jacob Lawrence (1917–2000), whose illustrious career culminated in his tenure as an art professor at the University of Washington. In bold colors and crisp, geometric forms, Lawrence’s images told the story of the millions of African Americans who migrated out of the rural South to cities of the North, Midwest and West Coast (including Seattle, where the African American population quadrupled in the 1940s).
Bermel, who first saw Migration Series as a child in New York, recalled, “The paintings have remained etched in my consciousness ever since, and as I began work on this piece, many of the sounds in my head evoked memories of the series. Because Lawrence didn’t regard the paintings as separate entities, but instead as components of a larger cycle, it felt natural for me to focus on the shapes, colors, moods, and atmospheres evoked by groups of scenes within the series, rather than individual paintings. In this grand American story, I gravitated toward the larger themes, those of determination, mystery, despair, and hope; Lawrence’s unique sense of perspective and distance — his generosity and universality of narrative — allowed the space for me to add music.”
The first movement, “inspired by the wide open Southern landscapes and the theme of the railroad depicted in Lawrence’s paintings,” connects through a short piano interlude to the second movement, which “reflects Lawrence’s depictions of the emotional pulse
prior to migration, the overwhelming disbelief and despair stemming from the prejudices and hardships endured by the former slaves and their families.” Bermel constructed this music as “a Gospel ballad, transformed by a trio of rapping trombones which anticipate the vocalizations of the third movement,” a section built on call-and-response figures that parallel “the excitement of rumors in the air.”
The fourth movement corresponds to the panels in which “Lawrence illustrates the migrants’ arrival in the Northern cities, accompanied by joy and expectation, but also by violence, rejection, and new incarnations of poverty.” After a trumpet interlude, the fifth and final movement mirrors Lawrence’s caption to his final painting: “And the migrants kept coming.”
Derek Bermel will be featured as a clarinetist in this piece.
Composer and pianist Wayne Horvitz (b. 1955) has long been a leader in the avant-garde jazz scene, although his music continually defies categorization in any one genre. He made his mark in New York in the 1980s, in what The New York Times critic Ben Ratliff characterized as “an evened-out, coherent composing voice that contained bebop and rock, gospel hymns and country, free jazz and funk and midcentury film music and Charles Ives.” Horvitz moved to Seattle in 1988, and he has become a pillar of the local music community as a composer, performer and bandleader, and also as one of the founders of The Royal Room, a performance venue in Columbia City.
The Seattle Symphony and Earshot Jazz Festival have partnered to present Horvitz’s new work, Those Who Remain. (Additional support came from The Seattle Office of Arts and Culture and Linda Breneman.) Horvitz drew his title and inspiration from the poet Richard Hugo (1923–1982), who grew up in the White Center section of Seattle and went on to chronicle gritty life in small towns around the Pacific Northwest.
Horvitz’s music is structured as a two-movement concerto for orchestra and improvising guitarist, a role designed to feature fellow Seattleite and longtime collaborator Bill Frisell. The first
movement, Three Stops to Ten Sleep, takes after a Hugo poem of the same name. Horvitz noted how that text “evokes a group of pioneers heading west, and their steady decline from hope to despair, as the mountains that looked so close never seem to arrive. In the third stanza, the protagonist bemoans the fact that much needed companions are beginning to desert, especially those of means and higher moral values, and he observes, ‘Those who remain are the worst.’”
The second movement, The Car that Brought You Here Still Runs, is an outgrowth of another recent project that Horvitz modeled after the poet, a suite titled Some Places are Forever Afternoon (11 Places for Richard Hugo), originally composed for seven instruments. Horvitz explained, “The opening is a chorale of sorts, followed by a variation. The secondary theme was originally written for cello and piano, and the section that follows is based on an improvisation by myself and the cellist Peggy Lee.” The poem that provided the inspiration, Degrees of Gray in Philipsburg, includes the classic line, “The car that brought you here still runs.” Horvitz drew a parallel between this passage and his concerto’s conclusion, which includes the instruction to Frisell, “ad lib – loops – freak out.”
© 2015 Aaron Grad
PROGRAM NOTES by Aaron Grad
46 SEATTLESYMPHONY.ORG
NOVEMBER 5–7
BRAHMS VIOLIN CONCERTO
Ludovic Morlot, conductorRenaud Capuçon, violin Seattle Symphony
From great lyrical beauty to rich, dark drama, Brahms’ Violin Concerto will soar in the hands of famed French violinist Renaud Capuçon. Plus, a world premiere from revered Georgian composer Giya Kancheli, whose haunting Styx was a recent surprise Seattle hit.
NOVEMBER 12 & 14
BRUCH VIOLIN CONCERTO NO. 1
Thomas Dausgaard, conductorHenning Kraggerud, violin Seattle Symphony
Adored for its dark, moody opening and swashbuckling finale, Bruch’s Violin Concerto is a perennial favorite. Principal Guest Conductor Thomas Dausgaard brings authentic voice to the greatest work of his fellow countryman, Carl Nielsen’s “The Inextuinguishable.”
NOVEMBER 19–22
MAHLER TEN
Thomas Dausgaard, conductor Seattle Symphony
Don’t miss the Seattle Symphony’s first-ever performance of Mahler’s now completed Symphony No. 10. Traversing the full spectrum of emotion, from cries of heart-wrenching agony to moments of exquisite ecstasy, it leaves us pondering what other wonders Mahler might have accomplished had he lived past 50.
Media Sponsor:
DECEMBER 3–6
FAURÉ REQUIEM
Ludovic Morlot, conductorJane Archibald, sopranoNicolas Cavallier, baritoneValerie Muzzolini Gordon, harpSeattle Symphony Chorale Seattle Symphony
The Seattle Symphony and Chorale deliver the shimmering and luminous beauty of Fauré’s Requiem, a masterpiece of utter serenity. Messiaen’s glorious love letter to his wife, Poèmes pour Mi, is featured on the first half of this all-French program.
Performances of Fauré Requiem are sponsored by the Nesholm Family Foundation.
Valerie Muzzolini Gordon’s performances are generously underwritten by Sue & Robert Collett and Sheila B. Noonan & Peter M. Hartley.
Media Sponsor:
206.215.4747 | SEATTLESYMPHONY.ORG
FOR TICKETS:
TICKET OFFICE AT BENAROYA HALL | MON–FRI, 10AM–6PM; SAT, 1–6PM
SEASON2015
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encoreartsseattle.com 47
SHAPRECEVocals
Drawing from an eclectic palette of
musical influences, Shaprece’s latest
artistic direction ranges from electronic
beats to orchestral arrangement, soulful
vocals to ambient soundscapes. Blending
digitally altered tones with sultry and
smoky vocals, she has aspired to create
a category to call her own. Throughout
the creative process, she’s gathered
inspiration from the likes of Bjork, Sade
and Erykah Badu, among others, forming
a pleasant fusion of dreamy melodies and
atmospheric sounds.Photo: Brooklyn Benjestorf
BILL FRISELLGuitar
Bill Frisell’s career as a guitarist and
composer has spanned more than 35
years and many celebrated recordings.
Frisell’s latest recording, Big Sur, is his
debut for OKeh/Sony and features music
commissioned by the Monterey Jazz
Festival. Composed at the Glen Deven
Ranch in Big Sur, the album’s unusual
instrumentation of strings and drums
comes alive in a quintet comprised of
long-time associates from his groups, the
858 Quartet and Beautiful Dreamers.
“Frisell has had a lot of practice putting
high concept into a humble package.
Long hailed as one of the most distinctive
and original improvising guitarists of our
time, he has also earned a reputation for
teasing out thematic connections with his
music...” – The New York Times
Frisell’s catalogue has been cited by
Downbeat as “the best recorded output of
the decade,” including his recent albums
for Savoy - Sign of Life with the 858
Quartet, Beautiful Dreamers and All We
Are Saying, a collection of John Lennon
interpretations.
Recognized as one of America’s 21 most
vital and productive performing artists,
Frisell was named an inaugural Doris Duke
Artist in 2012. He is also a recipient of
grants from United States Artists and Meet
the Composer, among others. Currently
he is the Guest Curator for the Roots of
Americana series at Jazz at Lincoln Center
and recently finished an appointment as
Resident Artistic Director at San Francisco
Jazz.
Photo: Michael Wilson
THE ROOSEVELT JAZZ BAND
The Roosevelt Jazz Band is the most advanced of four performing jazz ensembles at Seattle’s Roosevelt High School. Steeped in the great swing traditions of the Basie and Ellington bands, but with an ever-expanding repertoire of modern big band literature the Roosevelt Jazz Band performs under the direction of Golden Apple winner Scott Brown. They appear frequently at concerts and competitions in Seattle and the Pacific NW, but their reputation extends beyond the local music scene. They have participated as an Essentially Ellington finalist at Jazz at Lincoln Center in New York in 15 of the last 16 years, winning the top prize three times. They tour and perform outside of the United States every other summer, most recently
at Montreux, Vienne and the Umbria Jazz Festival in Perugia, Italy.
The comprehensive music program at
Roosevelt also includes three bands,
three orchestras, choir, class piano and
musical theater. Roosevelt is a diverse,
comprehensive, four-year public high
school of over 1,700 students in Seattle,
Washington. Under the leadership of
principal, Brian Vance, Roosevelt recently
received a “silver” rating from Newsweek
Magazine for academic excellence, and
is currently ranked in the top ten of all
Washington State high schools. The
school is nationally renowned for its music
and drama programs. Many graduates of
the Roosevelt Jazz Band go on to pursue
careers in music and music education.
Photo: Doug Labrecque
48 SEATTLESYMPHONY.ORG
Friday, October 30, 2015, at 8pm
Saturday, October 31, 2015, at 8pm
HITCHCOCK PSYCHOWITH THE SEATTLE SYMPHONYSPECIAL PERFORMANCES
Adam Stern, conductor
Seattle Symphony
There will be one 20-minute intermission.
FILM CREDITS:
CAST
Anthony Perkins Norman Bates
Vera Miles Lila Crane
John Gavin Sam Loomis
Martin Balsam Milton Arbogast
John McIntire Deputy Sheriff Al Chambers
Simon Oakland Dr. Fred Richmond
Vaughn Taylor George Lowery
Frank Albertson Tom Cassidy
Lurene Tuttle Mrs. Chambers
Patricia Hitchcock Caroline (as Pat Hitchcock)
John Anderson California Charlie
Mort Mills Highway Patrol Officer
Janet Leigh Marion Crane
SCREENPLAY BY DIRECTED BY
Joseph Stefano Alfred Hitchcock
Robert Bloch
MUSIC BY
Bernard Herrmann
Film courtesy of Universal
The producer wishes to acknowledge the contributions and extraordinary support of John Waxman (Themes & Variations).
A Symphonic Night at the Movies is a production of PGM Productions, Inc. (New York) and appears by arrangement with IMG Artists.
PRODUCTION CREDITS
Producer: John Goberman
Music Consultant: John Waxman
Please turn off all electronic devices and refrain from taking photos or video.
Performance ©2015 Seattle Symphony. Copying of any performance by camera, audio or video recording
equipment, and any other use of such copying devices during a performance is prohibited.
ADAM STERNConductor
PROFESSIONAL
APPOINTMENTS:
Seattle-based
conductor Adam Stern
served as the
Associate Conductor of
the Seattle Symphony
from 1996 to 2001, after
having served as
Assistant Conductor
from 1992 to 1996. In these capacities, he
conducted programs included on all of the
Symphony’s series, including three highly-
praised classical series concerts;
numerous education and children’s
programs; and Pops concerts with such
artists as James Taylor, Judy Collins and
Art Garfunkel. He also served as Music
Director of the Northwest Chamber
Orchestra from 1994 to 2000, during
which time he introduced dozens of new
works to that orchestra’s repertoire. He is
currently Music Director of the Seattle
Philharmonic and the Sammamish
Symphony, and with both orchestras
continues his mission of championing
underrepresented works: recent seasons
have included the Northwest premieres of
Vaughan Williams’ Symphony No. 9,
Holst’s Egdon Heath, Copland’s
Statements for Orchestra, Henze’s
Symphony No. 4 and Bernard Herrmann’s
Symphony.
FILM EXPERIENCE: Stern’s most recent
appearances as conductor with the
Seattle Symphony were in October 2013
to conduct the score of Psycho along
with the film, and in July 2011, when he
led two performances each of the scores
to Casablanca and The Wizard of Oz as
accompaniments to the films at Benaroya
Hall. In addition to his concert work, Stern
has conducted the background scores to
many films and television shows; highlights
include the scores to such theatrical films
as Runaway Jury, Heist and Millions.
EDUCATION: An indefatigable proponent
of music education in Seattle, Stern is an
adjunct faculty member at Cornish College
of the Arts, where he happily teaches
courses in composition, conducting and
film music history.
Photo: courtesy of Adam Stern
encoreartsseattle.com 49
PRINCIPAL BENEFACTORS
The Seattle Symphony acknowledges with gratitude the following donors who have made lifetime commitments of more than $1 million as of August 26, 2015.
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
The Benaroya Family
The Boeing Company
C.E. Stuart Charitable Fund
Charles Simonyi Fund for Arts and Sciences
Leslie and Dale Chihuly
The Clowes Fund, Inc.
Priscilla Bullitt Collins*
Jane and David R. Davis
Delta Air Lines
Estate of Marjorie Edris
Judith A. Fong and Mark Wheeler
The Ford Foundation
Dave and Amy Fulton
William and Melinda Gates
Lyn and Gerald Grinstein
Illsley Ball Nordstrom Foundation
Kreielsheimer Foundation
The Kresge Foundation
Marks Family Foundation
Bruce and Jeanne McNae
Microsoft Corporation
Microsoft Matching Gifts Program
M.J. Murdock Charitable Trust
National Endowment for the Arts
Nesholm Family Foundation
The Norcliffe Foundation
PONCHO
James and Sherry Raisbeck
Gladys* and Sam* Rubinstein
S. Mark Taper Foundation
Jeff and Lara Sanderson
Seattle Office of Arts & Culture
Seattle Symphony Foundation
Seattle Symphony Women’s Association
Leonard and Patricia Shapiro
Samuel* and Althea* Stroum
Dr. Robert Wallace
Joan S. Watjen, in memory of Craig M. Watjen
Arlene A. Wright
Virginia and Bagley* Wright
Anonymous (5)
*In Memoriam
GUEST ARTISTS CIRCLE
The following donors have generously underwritten the appearances of guest artists this season.
Judith A. Fong and Mark Wheeler
Jean-François and Catherine Heitz
Ilene and Elwood Hertzog
Douglas F. King
Marcus and Pat Meier
Sheila B. Noonan and Peter M. Hartley
James and Sherry Raisbeck
Grant and Dorrit Saviers
Mel and Leena Sturman
The Atsuhiko and Ina Goodwin Tateuchi Foundation
Muriel Van Housen and Tom McQuaid
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
Sheila B. Noonan and Peter M. Hartley
SYMPHONY MUSICIANS CIRCLE
The following donors have generously sponsored a section musician this season.
Stephen Elop
Hot Chocolate Fund
Melvyn and Rosalind Poll
Tom and Teita Reveley
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 August 26, 2015. If you have any questions or would like information about supporting the Seattle Symphony, please visit us online at seattlesymphony.org/give or contact Donor Relations at 206.215.4832.
Thank you for your support. Our donors make it all possible!
STRADIVARIUS CIRCLE
Platinum ($250,000+)
The Benaroya Family ^ 15
Leslie and Dale Chihuly o 15
Judith A. Fong and Mark Wheeler o 5
Marks Family Foundation o 5
Anonymous (2)
Gold ($100,000 – $249,999)
Lenore Hanauer 15
Jean-François and Catherine Heitz o 10
David J. and Shelley Hovind o 10
Jeff Lehman and Katrina Russell o 5
Joan S. Watjen, in memory of Craig M. Watjen 15
Silver ($50,000 – $99,999)
Dr.* and Mrs. Ellsworth C. Alvord, Jr.
Cheryl and Richard Bressler 15
Dave and Amy Fulton ^ 5
Katharyn Alvord Gerlich 15
Dr. Kennan H. Hollingsworth o 15
Jeffrey S. Hussey o
Paul Leach and Susan Winokur o 15
Marcus and Pat Meier 5
Sheila B. Noonan and Peter M. Hartley o 15
Norm and Elisabeth Sandler/The Sandler Foundation o
Martin Selig and Catherine Mayer o ^
H.S. Wright III and Katherine Janeway 15
Anonymous (2)
Bronze ($25,000 – $49,999)
Elias and Karyl Alvord
Warren A. and Anne G. Anderson 5
Drs. Jim and Sue Bianco o
Children Count Foundation 5
William O. and K. Carole Ellison Foundation
William and Mimi Gates
Lynn and Brian Grant Family o 5
Dr. Martin L. Greene 5
Lyn and Gerald Grinstein ^ 15
Ilene and Elwood Hertzog o 15
Douglas F. King 15
Dana and Ned Laird o 15
Dawn Lepore and Ken Gladden o 5
Jean McTavish 15
Pamela Merriman 5
Linda Nordstrom 15
Sally G. Phinny 5
James and Sherry Raisbeck 10
Grant and Dorrit Saviers 5
Mel and Leena Sturman
The Atsuhiko and Ina Goodwin Tateuchi Foundation
Stephen and Leslie Whyte o 5
Virginia and Bagley* Wright ^ 15
Muriel Van Housen and Tom McQuaid
Anonymous
MAESTROS CIRCLE
Gold ($15,000 – $24,999)
Molly and Marco Abbruzzese o 10
Richard and Constance Albrecht ^ 15
Chap and Eve Alvord 15
Bob and Clodagh Ash ^ 15
Larry and Sherry Benaroya o
Sue and Robert Collett ^ 15
Jane and David R. Davis ^ 15
Barney Ebsworth and Rebecca Layman-Amato o
Kathy Fahlman Dewalt and Stephen R. Dewalt o 5
Jerald Farley o 15
Richard and Elizabeth Hedreen 15
Charles E. Higbee, MD and Donald D. Benedict 15
Chuck and Pat Holmes ^ 10
Hot Chocolate Fund 5
Susan Shanbrom Krabbe and Moe Krabbe 15
Edmund W. and Laura Littlefield
Richard and Francine Loeb
Dr. Pierre and Mrs. Felice Loebel 15
Kjristine R. Lund o 5
Mr. Steve Macbeth
Harold Matzner
Yoshi and Naomi Minegishi ^ 10
Robert Moser
Dick and Joyce Paul o 5
Patricia and Jon Rosen o 5
Mr.* and Mrs. Herman Sarkowsky ^ 15
Seattle Symphony Volunteers
Charles and Lisa Persdotter Simonyi 5
Silver ($10,000 – $14,999)
Jim and Catherine Allchin 15
Claire Angel o 5
Peter Russo and Kit Bakke
Brooke Benaroya and Josh Dickson
Berwick Degel Family Foundation 5
Thomas and Susan Bohn 15
Paul B. Brown and Margaret A. Watson o 5
Dr. Alexander Clowes* and Dr. Susan Detweiler 15
Martine and Dan Drackett
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
Patty Hall o 15
Dustin and Michelle Ingalls 10
Juniper Foundation 10
Nader and Oraib Kabbani o
Janet Wright Ketcham Foundation
Michael King and Nancy Neraas 5
Stephen Kutz o 5
Najma and Firoz Lalji
Rhoady* and Jeanne Marie Lee 10
Everil Loyd, Jr. 5
Ian and Cilla Marriott 15
Jerry Meyer
The Mitrovich Family 5
The Nakajima Family
SEATTLE SYMPHONY DONORS
50 SEATTLESYMPHONY.ORG
SEATTLE SYMPHONY DONORS
Erika J. Nesholm
John and Laurel Nesholm o 15
Geneva R. Osburn 5
John and Susan Pohl o 5
Melvyn and Rosalind Poll 5
Jane and James Rasmussen 15
Tom and Teita Reveley 15
Jon and Judy Runstad ^
Jeff and Lara Sanderson
Douglas and Theiline Scheumann
Amy Sidell 15
Linda Stevens o 15
Donald and Mary Anne Strong 15
Patricia Tall-Takacs and Gary Takacs ^ 15
Betty Tong 5
M. Barton Waring
Selena and Steve Wilson 15
Arlene A. Wright ^ 15
Anonymous (6)
FOUNDERS CIRCLE
Gold ($7,500 – $9,999)
Susan Y. and Charles G. Armstrong ^
Robert Bismuth
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
Joaquin and Jennifer Hernandez o
Will and Beth Ketcham o
Ben Kolpa and Angelisa Paladin
Dr. Ryo and Kanori Kubota
Ruthann Lorentzen 5
Ashley O’Connor McCready and Mike McCready
Gary and Susan Neumann 15
Eric and Margaret Rothchild Charitable Fund 5
Diane and Mark Rubinstein o 5
Michael Slonski o 5
Steve and Sandy Hill Family Fund at the Seattle Foundation 15
Gary and Karla Waterman ^
Mark Wissman and Christine Coté-Wissman
Anonymous (3)
Silver ($5,000 – $7,499)
John and Joan Baker 10
Donna Benaroya 5
Leslie and Michael Bernstein 5
Capt. and Mrs. Paul Bloch 5
Barbara BonJour 15
Jim and Marie Borgman 15
Alexandra Brookshire and Bert Green ^ 15
Jeffrey and Susan Brotman 15
Amy Buhrig o 5
Susan Y. Buske
Steven and Judith Clifford 5
Ida Cole
Samuel and Helen Colombo 15
The Colymbus Foundation 15
Patricia Cooke 5
David and Christine Cross
Carl de Marcken and Marina Meila
Dr. Geoffrey Deschenes and Dr. Meredith Broderick
Liz and Miles Drake 5
David and Dorothy Fluke ^ 15
Ernest and Elizabeth Scott Frankenberg 5
William E. Franklin
Karen Gamoran
Bob and Eileen Gilman Family Foundation 10
D. Wayne* and Anne E. Gittinger
Margaret M. Hess
Glen and Ann Hiner
Bob and Melinda Hord
Walt and Elaine Ingram o
JNC Fund
Charles and Joan Johnson 10
Sally Schaake Kincaid
Klorfine Foundation
SoYoung Kwon and Sung Yang o 5
Jon and Eva LaFollette 5
David and Leslie Leland
Flora Ling and Paul Sturm
Michael and Barbara Malone
Mark H. and Blanche M. Harrington Foundation 15
Corrinne Martin
JoAnn McGrath
Craig McKibben and Sarah Merner
Christine B. Mead 5
Richard Meyer and Susan Harmon
Carolyn R. Miller 15
Reid and Marilyn Morgan ^ 15
Judith Schoenecker and Christopher L. Myers 5
Cookie and Ken Neil
Bob and Annette Parks
Mr. and Mrs. Charles M. Pigott 10
M. C. Pigott Family
Mr. and Mrs. W. H. Purdy 15
Douglass and Katherine Raff 15
Dick and Alice Rapasky 10
Bernice Mossafer Rind ^
Stan and Michele Rosen
Haim N. Schoppik
John F. and Julia P.* Shaw ^ 15
Barbara and Richard Shikiar 15
Frank and Harriet* Shrontz 15
Carrol Steedman
John and Sherry Stilin 10
Hope and Richard Stroble
Sympaticos
Maryanne Tagney
Doug and Janet True
Hans and Joan* van der Velden 15
Dr. Robert Wallace
Ronald and Devorah Weinstein 5
Robert and Leora Wheeler 15
Marcia and Klaus Zech 5
Anonymous (5)
Bronze ($3,500 – $4,999)
Alina Kostina Violins
Carole Rush and Richard Andler 5
Lucius and Phoebe Andrew 15
Bill and Nancy Bain ^
Dr. C. Bansbach
Carol Batchelder 15
William and Beatrice Booth 15
Phillip and Karla Boshaw
Rosanna Bowles o
Zane and Celie Brown 10
Steve and Sylvia Burges 10
Cassandra Carothers
Cogan Family Foundation 5
James and Barbara Crutcher
Cami and Ray Davis
Cindy Dobrow
Aileen Dong
Jim and Gaylee Duncan
Judith Feigin-Faulkner and Colin Faulkner
Jean Gardner ^ 15
Doris H. Gaudette 15
Michele and Bob Goodmark
Donald G. Graham, Jr. 15
Barbara Hannah and Ellen-Marie Rystrom 15
Jane Hargraft and Elly Winer +
Deena J. Henkins
Dick and Nora Hinton
Charles and Nancy Hogan
Jeanne Kanach
Karen Koon 5
Drs. Kotoku and Sumiko Kurachi
Latino-O’Connell
Martha and Eugene Lee
Steve and Donna Lewis 15
Judsen Marquardt and Constance Niva
Justine and John Milberg
Dan Savage and Terry Miller
Ryan Mitrovich
Laina and Egon Molbak 15
Mr. and Mrs. Richard Moore 10
Rena and Kevin O’Brien
Gerald and Melissa Overbeck
Steven C. Phelps
Jay Picard o
Dr. and Mrs. Richard D. Prince 15
Sue and Tom Raschella ^ 15
E. Paul and Gayle Robbins 5
Chuck and Annette Robinson 10
John Robinson and Maya Sonenberg 10
Mike and Marcia Rodgers
Dr. and Mrs. Werner E. Samson
Jeffrey C. Sherman
Buz and Helen Smith 15
Nepier Smith and Joan Affleck-Smith
Ms. Barbara Snapp and Dr. Phillip Chapman
Margaret and Richard Spangler 15
Sonia Spear 15
Lorna Stern 15
David Tan and Sherilyn Anderson-Tan
Leone Murphy 10
S. Vadman 5
Mr. Leo van Dorp o 5
Jean Baur Viereck 5
Steve Vitalich
Charlie Wade and Mary-Janice Conboy-Wade +
M. Elizabeth Warren 5
Laurie and Allan Wenzel 5
Mr. and Mrs. Michael Werner
Mr. and Mrs. Kenneth W. Willman
Simon Woods and Karin Brookes +
Anonymous (6)
Conductors Club ($2,000 – $3,499)
John and Andrea Adams
Bill and Janette Adamucci
Harriet and Dan Alexander
Mike and Sumi Almquist
Sue and Richard Anderson
Linda Armstrong
Tiffany Ashton and Curtis Freet
Tracy L. Baker 10
Richard Barbieri and Lyn Tangen
Tom Barghausen and Sandy Bailey
Frank Baron
Patty and Jimmy Barrier
The Barston Quartet
Chris and Cynthia Bayley ^
Natalie and Michael Bayne
Bob and Bobbi Bridge
Claire and Aaron Burnett
Craig and Jean Campbell 15
Elizabeth M. Campbell
David and Lynne Chelimer 15
Phyllis B. Clark
Mr. and Mrs. Ross Comer 5
Rosalie Contreras and David Trenchard + 5
Jeffrey and Susan Cook
Scott and Jennifer Cunningham
T. W. Currie Family 10
Dr. Bob Day 5
Frank and Dolores Dean 15
Mr. John Delaney
Anthony DiRe
Daniel and Roberta Downey
Everett and Bernie DuBois 10
Laurie Minsk and Jerry Dunietz
Dr. Lewis and Susan Edelheit
Educational Legacy Fund
SEATTLE SYMPHONY DONORS
encoreartsseattle.com 51
SEATTLE SYMPHONY DONORS
Brit and Jan Etzold
Andrew Faulhaber 5
Mr.* and Mrs.* Jim Faulstich
Victor and Patricia Feltin 10
Jerry and Gunilla Finrow 15
Gerald B. Folland
Sandra and Tom Gaffney 5
Richard and Jane Gallagher
Heinz Gehlhaar and Eileen Bear 10
Martin and Ann Gelfand
Janice A. and Robert L. Gerth 15
Carol B. Goddard 15
Bill and Joy Goodenough 10
Catherine B. (Kit) Green 10
Lucia and Jeffrey Hagander 5
Molly and Mike Hanlon
Frederick and Catherine Hayes 15
Terrill and Jennifer Hendrickson 5
Richard and Sally Henriques
Harold and Mary Fran Hill 10
Liz Hilton
Thomas Horsley and Cheri Brennan
Suzanne D. Kellar* 10
David and Ida Kemle 10
Janet L. Kennedy
Mr. Daniel Kerlee and Mrs. Carol Wollenberg 10
Andrew Kim
Michael Klein and Catherine Melfi
Lorna and Jim* Kneeland
Albert and Elizabeth Kobayashi 15
Brian and Peggy Kreger 10
Timothy Krueger
Marian E. Lackovich* 15
Patrick Le Quere 5
Bryan Lung
Mark P. Lutz 15
Marilyn Madden 10
Edgar and Linda Marcuse 5
Ken and Robin Martin
Charles T. Massie 10
Carolyn and Richard Mattern 5
Bill and Colleen McAleer 10
John and Gwen McCaw
Jerry Meharg
Drs. Pamela and Donald Mitchell 15
Chie Mitsui 5
Ms. Mary Ellen Mulder
Mr. and Mrs. J. P. Naughton 10
Bruce and Jeannie Nordstrom
Isabella and Lev Novik
Jerald E. Olson 15
Mr. and Mrs. Thomas Olson
Path Forward Leadership Development 5
David F. Peck 10
Nancy and Christopher Perks 10
Don and Sue Phillips
Marcus Phung 5
Guy and Nancy Pinkerton 5
Mrs. Eileen Pratt Pringle 15
Llewelyn G. and Joan Ashby Pritchard ^ 15
Dana Reid and Larry Hitchon
Rao and Satya Remala
Linden Rhoads
Ed and Marjorie Ringness 15
Richard and Bonnie Robbins
Cheryl Roberts and R. Miller Adams
Jonathan and Elizabeth Roberts 15
Nancy M. Robinson 15
Sharon Robinson 5
William and Jill Ruckelshaus ^
Don and Toni Rupchock 15
Annie and Ian Sale
Thomas and Collette Schick 10
Eckhard Schipull 10
Art Schneider and Kim Street
Esther and Walter* Schoenfeld
Tanya and Gerry Seligman
Yuka Shimizu
Janice and Brad Silverberg
Evelyn Simpson 15
Christopher Snow 5
Stephanie Standifer
Jane and Alec Stevens 10
Carolyn and Clive Stewart
Isabel and Herb Stusser 10
Michael and Christine Suignard
Mr. and Mrs. C. Rhea Thompson 5
Kirsten and Bayan Towfiq o
Betty Lou and Irwin* Treiger ^ 15
Trower Family Fund
Bryna Webber and Dr. Richard Tompkins
John and Fran Weiss 15
Cliff Burrows and Anna White
Roger and June Whitson 15
Stephen and Marcia Williams
Wayne Wisehart
Richard and Barbara Wortley
Mr. and Mrs. David C. Wyman
Mr. and Mrs. Rick D. Zajicek
Christian and Joyce Zobel 5
Anonymous (13)
Musicians Club ($1,000 – $1,999)
Mr. and Mrs. Chris Ackerley
Acupuncture & Wellness Center, P.S.
William K. Ahrens 15
Mr. and Mrs. John Amaya 5
Jennifer Ament
Drs. Linda and Arthur Anderson
Carlton and Grace Anderson 5
Ginger and Parks Anderson
Mr. Geoffrey Antos 5
Richard and Dianne Arensberg 10
Terry Arnett and Donald Foster* ^
Ben and Barbara Aspen
Larry Harris and Betty Azar 10
Kendall and Sonia Baker 5
Dr. and Mrs. John Baldwin 5
Dr. and Mrs. Terrence J. Ball 5
Mr. Charles Barbour and Mrs. Diana L. Kruis
Joel Barduson
Stan and Alta Barer
Eric and Sally Barnum 5
Jim Barnyak
Jane and Peter Barrett
Douglas and Maria Bayer 15
Nick and Lisa Beard
Dr. Melvin Belding and Dr. Kate Brostoff
Mr. and Mrs. Joe Belson
Judith and Arnold Bendich
Joel Benoliel
Janice Berlin
Linda Betts 10
Michael and Mary Rose Blatner 5
Mrs. William E. Boeing
Mr. and Mrs. Jacques R. Boiroux
Herb Bridge and Edie Hilliard 15
Jonathan and Judge Bobbe Bridge
Mike Brosius
Beverly C. Brown
Katharine M. Bullitt
Laurion Burchall and Arlene Kim
Keith A. Butler
Frank and Phyllis Byrdwell ^
Mary and Patrick Callan
April Cameron 5
Karen Cameron
Corinne A. Campbell
Irving and Olga Carlin
Cory Carlson
Dr. Mark and Laure Carlson 5
Carol and John Austenfeld Charitable Trust 5
Benjamin Carr
Emily Carroll
Anand Chakraborty
Ying Chang
Kent and Barbara Chaplin 10
Virginia D. Chappelle 15
Chidem Cherrier 5
Mr. James Chesnutt 5
Robert E. Clapp
Mr. and Mrs. William Clapp
Jacqueline Coffroth
Ellen and Phil Collins 15
Mr. and Mrs. Frank Conlon
Donald and Ann Connolly
Herb and Kathe Cook 5
Richard and Bridget Cooley
Bruce Cowper and Clare McKenzie
Mike Craig
Cristian Craioveanu
Bob and Jane Cremin
Joseph Crnko and Wendee Wieking
Richard Cuthbert and Cheryl Redd-Cuthbert
Robert Darling
Tatiana Davidson 5
Angela de Oliveira 5
Calisle Dean
Tom DeBoer
Dr. Stella Desyatnikova MD
Brian Dewey and Eileen Brown
David and Helen Dichek
Mr. William Dole and Mr. James Antognini 5
Betsy Donworth
Ken Duncan and Tanya Parish 5
Maria Durham and Viva la Música Club 10
Mr. Scott Eby 5
Robert and Elizabeth Edgerton
Glenn and Janet Edwards 15
Thomas* and Ruth Ellen Elliott 15
Leo and Marcia Engstrom
Raylene B. Ewing
Al Ferkovich and Joyce Houser-Ferkovich 15
Barry and JoAnn Forman
Dana A. Frank
Robert Franklin
Ms. Janet Freeman-Daily 10
Janet and Lloyd Frink
Lydia Galstad
Nina M. Gencoz
Ruth and Bill* Gerberding ^
James and Carol Gillick ^ 10
Bernel Goldberg +
Jeffrey and Martha Golub 10
Inger A. Goranson 5
Betty Graham
Kathleen Grant Khosrowshahi
Mr. and Mrs. Ross Grazier
Maridee Gregory
Julie Gulick
Frank and Gloria Haas 5
Mrs. Carol Hahn-Oliver* 5
William Haines 15
Mary Stewart Hall 10
Darren Hamby
Dr. and Mrs. James M. Hanson
Frederic and Karin Harder
Ken and Cathi Hatch ^
Brian Hawksford and Steve Crandall
Ms. Jill Heerensperger
Dr. and Mrs. Robert M. Hegstrom
Michele and Dan Heidt 5
Anita Hendrickson 5
Janie Hendrix
Susan Herring 5
Mr. H. D. Hinkson and Ms. Kathleen Leahy 10
Suzanne Hittman
Cheryl Hoffman Herzog and Mathias Herzog
Candyce Hogan
Norm Hollingshead 5
Bob Holtz and Cricket Morgan
The Gerald K. and Virginia A. Hornung Family Foundation
Mrs. Susanne F. Hubbach 15
52 SEATTLESYMPHONY.ORG
SEATTLE SYMPHONY DONORS
Gretchen and Lyman* Hull 15
Aileen Huntsman
Richard and Roberta Hyman
Ralph E. Jackson
Laura and Bernard Jacobson 5
Randy Jahren 5
Megan Hall and James Janning +
Lawrence Jen
Robert C. Jenkins 5
Clyde and Sandra Johnson 5
David Johnson
Rodney J. Johnson
Julie A. Johnston
Patricia E. Jones
Zagloul Kadah
Gretchen Kah
Kim and Pamela Kaiser 15
David Kalberer and Martha Choe 5
Suzanne and Steve Kalish
Glenn Kawasaki
Michael and Mary Killien 10
Hyeok Kim
Stacy and Doug King
Virginia King 5
W. M. Kleinenbroich
Maryann and Tom Kofler
Masato and Koko Koreeda
Becky Kowals and Max Rose +
Tatyana Kutsy
Frances Kwapil 15
Edith M. Laird
Bradley Lamb
Ron and Carolyn Langford 10
Peter M. Lara 10
Robert and Joan Lawler
Dr. Gordon D. LaZerte 5
Gregory and Mary Leach 15
Virginia and Brian Lenker 10
Don and Carla Lewis 5
Sherrie Liebsack
James Light 5
Jason Lin
Robert and Marylynn Littauer 5
Eric Liu and Jena Cane o
Mark Looi and Susan Cheng-Looi
Lovett-Rolfe Family Trust
Richard* and Beverly Luce 15
Roy and Laura Lundgren
Mr. and Mrs. Louis Lundquist 5
Mary Ann and Ted Mandelkorn 10
Mark Litt Family DAF of the Jewish Federation of Greater Seattle 5
Bret D. Marquardt
Pat and Tony Marshall 5
David and Sally Maryatt
Marcia Mason
Carolyn and Richard Mattern 5
Florence and Charlie Mayne
Doug and Joyce McCallum
Mary Kay McCaw
Elizabeth McConnell
Louise McCready
Dr. and Mrs. Paul McCullough
Ashley McDougall
Karen and Rick McMichael 15
Christopher and Heather Mefford
Jeffry L. Melville and Maureen Campbell Melville +
Mary Mikkelsen 15
Ronald Miller and Murl Barker 5
Charles Montange and Kathleen Patterson 15
Stephanie A. Mortimer
Susan and Furman Moseley
Christine B. Moss 15
Motivagent Inc.
Donald and Shirley Mottaz
Kevin Murphy 15
Mika Nakamura
Paul Neal
Robert and Claudia Nelson
Kirsten Nesholm
Marilyn Newland 5
Paul and Linda Niebanck
Craig Norton and John French 5
Nuckols-Keefe Family Foundation 5
Gordon Orians 10
Thomas and Cynthia Ostermann 5
Richard and Peggy Ostrander
Meg Owen
Dr. and Mrs. Roy Page
Mr. and Mrs. Richard Parks
Allan and Jane Paulson
Katherine Payge
Tomas Perez-Rodriguez 5
Lisa Peters and James Hattori
Gary and Erin Peterson
Rosemary Peterson
Stewart Phelps
Tom and Brooke Pigott
William and Joan Potter 15
Prairie Foundation
Lucy and Herb Pruzan 5
Harry* and Ann Pryde 15
Gail T. Ralston
Raman Family Foundation
Richard and Sharon Reuter 15
Jean A. Rhodes
Fred and Alyne* Richard 15
John Richardson II
Keith and Patricia Riffle
Deborah and Andrew Rimkus 5
Heidi Riney
Catherine and J. Thurston Roach
Jean A. Robbins 10
Tom Roberts
Mike Robinson
Helen Rodgers 15
Ken Rogers
John Eric Rolfstad
James Rooney
Marnie Roozen
Rita* and Herb* Rosen and the Rosen Family
Dr. Len and Gretchen Jane Rosoff
Michelle Rudd
Kayley Runstad
Ruttler Mills PLLC
Mina Miller and David Sabritt
Sarah Delano Redmond Fund at the Boston Foundation 5
Dr. and Mrs. Jason Schneier 5
Jessica Schneller 5
Mr. and Mrs. Joseph Schocken
S. Andrew Schulman and Elizabeth K. Maurer
Patrick and Dianne Schultheis
James P. Schultz 5
Stephen and Julie Scofield
Shannyn Scovil
Annie and Leroy Searle 10
Janet Sears 10
Janet and Thomas Seery 10
Allen and Virginia Senear 15
Leslie J. Shank
Richard Sharp and Janice Tsai
Linda Sheely 10
Vicki Shelton
Alan Shen
Charles Shipley 10
Robert and Anita Shoup
Anne* and Langdon Simons ^ 10
Dr. Charles Simrell and Deborah Giles 10
Joan Smith
Stephen and Susan Smith
Nina Li Smith and Steven Smith
Harry Snyder
Ms. Darlene Soellner 5
Scott Soules
SEATTLE SYMPHONY DONORS
Judith F. Warshal and Wade Sowers 15
John Spear
Doug and Katie Sprugel
Donald and Sharry Stabbert
Dr. and Mrs. Robert Stagman 15
Lee and Elizabeth Stanton
Craig and Sheila Sternberg
Susan Schroeter-Stokes and Robert Stokes
Ms. Heather L. Stotz
Cynthia Stroum
Lynanne and Brad Struss
Barbara and Stuart Sulman 5
Victoria Sutter 5
Brian Tajuddin
Mr. and Mrs. Ronald Taylor
Bob and Mimi Terwilliger 10
Mikal and Lynn Thomsen
Barbara Tober
Robert Toren
Dr. and Mrs. Arthur Torgerson 5
William B. Troy
Andy Tsoi
Dolores Uhlman 15
Arthur and Patricia Upham
Mark Valliere
Gretchen Van Meter 10
Johanna P. VanStempvoort 15
Mary Lou and Dirk van Woerden
Carol Veatch
Alexander Velinzon
Donald J. Verfurth
Robert and Lisa Wahbe
Doug and Maggie Walker 5
Stephanie Wallach
John and Marilyn Warner 5
Eugene and Marilyn Webb 5
Ralph and Virginia Wedgwood 15
Manny and Sarah Weiser 5
Norma Wells
Ed and Pat Werner
Judith A. Whetzel
Michelle Whitten
Mitch Wilk
Jessie and David Woolley-Wilson
Troy and Elizabeth Wormsbecker
Jerry and Nancy Worsham 10
Carol Wright
Kathleen Wright 10
Matt Yang
Mrs. Sarah Yeager
Keith Yedlin
Mr. Rocky Yeh
Yellowshoe Technology
Leonard* and Jane Yerkes
Igor Zverev 15
Anonymous (18)
5 5 years of consecutive giving10 10 years of consecutive giving15 15 years or more of consecutive giving Musiciano Board Member^ Lifetime Director+ Staff
* In Memoriam
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!
encoreartsseattle.com 53
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
Anna L. Lawrence
Arlyne Loacker
E. Marian Lackovich
Peter J. McTavish
Nuckols-Keefe Family Foundation
Beatrice Olson
Pearl G. Rose
Carl A. Rotter
John C. Rottler
Phillip Soth
Ida L. Warren
Elizabeth B. Wheelwright
DONALD ISLE FOSTER MEMORIAL SHOW, FOSTER/WHITE GALLERY, JULY 1–25, 2015
We would like to thank the following artists for donating a portion of their art sales from the Donald Isle Foster memorial show at Foster/White Gallery in recognition of Donald Isle Foster’s contribution to the arts in Seattle:
Parks and Ginger Anderson
Tony Angell
Terry Arnett
Aegea Barclay
Thompson Brennan
John Gary Brown
Dale and Leslie Chihuly
Allison Collins
Stephen Dale Edwards
Pamela David-Canlis
Margaret Ford
Foster/White Gallery
Galen Garwood
Yvette Gellis
Kathy Alvord Gerlich
Joseph Goldberg
Carol Gouthro
Lois* and Gene Graham
Diane Hansen
Anne Hirondelle
Eva Isaksen
Steve Jensen
John Keppeler
Joey Kirkpatrick
James Kraft
Karen Laband
Manfred Lindenberger
Dale Lindman
Flora Mace
James Martin
Mark Rediske
Joan Stuart Ross
Richard Royal
Ginny Ruffner
David Schwarz
Susan Skilling
Gerard Tsutakawa
Gina Wilson
SEATTLE SYMPHONY DONORS
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 July 1, 2014 and July 31, 2015. Please contact Donor Relations at 206.215.4832 or friends@seattlesymphony.org if you would like to recognize someone in a future edition of Encore.
Jordan Anderson, by
Steven Miletich and Emily Langlie
Jared Baeten and Mark Ruffo, by
Eugene Brown
Efe Baltacıgil, by
Patricia and Jon Rosen
Jane and John Bradfute, by
Nora and Myron MacDonald
Alan Brown, by
Gerald Yoshitomi
Michael Brown, by
Norm Hollingshead
Stephen Bryant, by
John Laughlin
Leslie Chihuly, by
The Sam and Peggy Grossman Family Foundation
Dr. Pierre and Mrs. Felice Loebel
The M. C. Pigott Family
Matt Stevenson
Barbara Tober
Su-Mei Yu
Anonymous
Leslie and Dale Chihuly, by
Bernice Mossafer Rind
Renee Cramer, by
Lynn Grandin
Laura DeLuca, by
Norm Hollingshead
Ryan Douglas, by
Michele Douglas
David Gordon, by
Marlyn Minkin
Alison Grauman, by
Hayley Nichols
Nancy Page Griffin, by
Michael Schick and Katherine Hanson
Susan Gulkis Assadi, by
Marlyn Minkin
Patty Hall, by
Michael and Kelly Hershey
Joyce and Helen, by
Barbara Frederick
Karneia, by
Allen R. Schwerer
Jessica Kenney, by
Norm Hollingshead
Pekka Kuusisto, by
Norm Hollingshead
Kjristine Lund, by
Douglas MacDonald
Pat Marshall, by
John and Laurel Nesholm
Larey McDaniel, by
Norm Hollingshead
Stephanie Mitchell, by
Jordan Jobe
Ludovic Morlot and the Seattle Symphony, by
Norm Hollingshead
Valerie Muzzolini, by
Marlyn Minkin
Nik, by
Cynthia Gaub
Llewelyn Pritchard, by
Nancy C. Elliott
Sue and Tom Raschella’s 50th Wedding Anniversary, by
Jennifer Connors
Jeffrey Phillippe
John Phillippe
Jon Rosen, by
Joe and Linda Berkson
Pat Rosen’s Birthday, by
Natalie Gendler
Marcia and Mike Wiviott
Bernice Rind, by
Bob and Clodagh Ash
Howard Moss and Pauline Shapiro
David and Julie Peha
Kay Zatine
Cynthia Ryan, by
James Ryan
Arie Schächter, by
S. Andrew Schulman and Elizabeth K. Maurer
Elle Simon
Peggy Spencer, by
Nancy McConnell
Betsy and Gary Spiess, by
Ling Chinn
Michael Upchurch, by
Norm Hollingshead
Alexander Velinzon, by
Nancy McConnell
Karla Waterman, by
Kay Zatine
Michael Werner, by
Norm Hollingshead
The Wiederhold Family, by
Christine Barnes
54 SEATTLESYMPHONY.ORG
Simon Woods, by
Norm Hollingshead
Dr. Pierre and Mrs. Felice Loebel
Kathleen Wright
Phil and Karen Wyatt, by
Cathy and Glen Wyatt
Arthur Zadinsky, by
Norm Hollingshead
MEMORIAL GIFTS
Gifts were made to the Seattle Symphony to remember those listed below between July 1, 2014 and July 31, 2015. For information on remembering a friend or loved one through a memorial gift, please contact Donor Relations at 206.215.4832 or friends@seattlesymphony.org.
Evelyne Adler, by
Deb and Tod Harrick
Priscilla Andrews, by
Bob and Carole Goldberg
Tom Archbold, by
Barbara Archbold
Zygmunt F. Baczewski, by
Philip Baczewski
Joanne and Larry Gibson
Jack Benaroya, by
Bob and Clodagh Ash
Irving and Olga Carlin
David and Dorothy Fluke
Bruce and Jolene McCaw
Llewelyn G. and Joan Ashby Pritchard
Rita Rosen
Bud Slosburg
Carlyn Steiner
Jean Willens
Arlene Berlin, by
Janice Berlin
Joan Burnett, by
Toby Burnett
Zenaide Castro, by
Cesar Castro and Junichi Shinozuka
Donna Cieszynski, by
David and MD Cieszynski
Dr. Alexander Clowes, by
Bob and Clodagh Ash
Drs. Lihua Chen and Yihua Xiong
Dan and Nancy Evans
David and Dorothy Fluke
Dr. Kennan H. Hollingsworth
Becky Kowals
John and Nancy Lightbody
Jack and Sandy McCullough
C. Gardner McFall and Peter Olberg
John and Laurel Nesholm
Laird Norton Wealth Management
Carolyn and Michael Patterson
Patricia and Jon Rosen
Dr. and Mrs. Gilbert J. Roth
The Seattle Commissioning Club
Eve Gordon Anderson and Mark Anderson
Roy and Laura Lundgren
Dr. Alan and Mary Morgan
Patricia Tall-Takacs and Gary Takacs
Linda Stevens
Neal B. Abraham and Donna L. Wiley
Anonymous
SEATTLE SYMPHONY DONORS
S. Patricia Cook, by
Capt. Charles Cook
Clayton Corzatte, by
Susan Corzatte
Claudia Kay Kraft Cranbery, by
Shari Dworkin
Deborah Carley Emory, by
Llewelyn G. and Joan Ashby Pritchard
Gretchen Faulstich, by
Cheryl and Gary Lundgren
Arthur Fong, by
Leslie and Dale Chihuly
Donald Isle Foster, by
Katharyn Alvord Gerlich
Ginger and Parks Anderson
Terry Arnett
Leslie and Dale Chihuly
Foster/White Gallery
Diane Hansen
John Keppeler
James Kraft
James Martin
Gina Wilson
Stanton W. Frederick, by
Julie Frederick
Kathleen A. Gehrt, by
John Gehrt
William Gerberding, by
Mr. and Mrs. David L. Fluke
Dr. Kennan H. Hollingsworth
Llewelyn G. and Joan Ashby Pritchard
Sally Clark Gorton, by
Carrol Steedman
Dr. David Grauman, by
Bob and Clodagh Ash
Sue and Robert Collett
Jane and David R. Davis
Mr. and Mrs. David L. Fluke
Dr. Kennan H. Hollingsworth
Mr. and Mrs. Charles Johnson
Helen Kearny
Reid and Marilyn Morgan
Llewelyn G. and Joan Ashby Pritchard
Mr. and Mrs. Thomas Raschella
L. Elsie Weaver
Mary Barringer Green, by
Christina Consla
Edward A. Hansen, by
Daniel and Roberta Downey
Jeanne Martinelli Hansen, by
Kirsti Dunn
George C. Harris, MD, by
Louise McAllister
La Eta Heath, by
Cheryl and Gary Lundgren
Russell P. Herwig, by
Ms. Karen Osmola
Marilyn L. Hirschfeld, by
Bill Hirschfeld, Dr. Mary L. Hirschfeld and W. Stuart Hirschfeld
John Hunnewell, by
Maya Hunnewell
Suzanne Hutchinson, by
Sue and Robert Collett
Ron Johnson, by
Mark McCampbell
Betty Winfield and Barry Hyman
Susanne Kellar, by
Cheryl and Gary Lundgren
Lisa Lederer, by
Kay I. Barmore
Robert Loring, by
David Loring
Pat Marshall, by
John and Laurel Nesholm
Illene and Mickey Maurer, by
S. Andrew Schulman and Elizabeth K. Maurer
Ruth E. Morrow, by
Ruth Johnson
Elisabeth Niccoli, by
Anonymous
Vera Rosen, by
Steven and Kay Frank
Gladys Rubinstein, by
Bob and Clodagh Ash
Barbara and Sandy Bernbaum
Lois Buell
David and Dorothy Fluke
John and Ann Heavey
Janet W. Ketcham
William and Marlene Louchheim
Janice R. Lurie
John and Laurel Nesholm
Llewelyn G. and Joan Ashby Pritchard
Cathy Sarkowsky
Patricia S. Stein
William B. Troy
Mr. and Mrs. Harold Vhugen
Carol Wright
Kathleen Wright
Ann Wyckoff
The Wyman Youth Trust
Anonymous
Herman Sarkowsky, by
David and Dorothy Fluke
Llewelyn G. and Joan Ashby Pritchard
Mark Schons, by
Joanne and Frances Schons
Harriet and Bill Shank, by
Leslie Shank
Julia Shaw, by
Bob and Clodagh Ash
Richard Spangler, by
Rev. Ben and Cheryl Keckler
encoreartsseattle.com 55
James Stubner, by
Bucknell Stehlik Sato & Stubner, LLP
Sue and Robert Collett
Doug and Gail Creighton
Cousins Pam, Tim, Terry and Julie, and Uncle Ron Collins
Carol B. Goddard
Robert and Rhoda Jensen
Ken Kataoka
John King
Richard* and Beverly Luce
Natalie Malin
Doug and Joyce McCallum
Dustin Miller
Reid and Marilyn Morgan
Carole Narita
Kenneth and Catherine Narita, Kimberly and Andy Absher, Karen and Steve Shotts, and Kristen Narita
Leona Narita
Ruby Narita
Llewelyn G. and Joan Ashby Pritchard
Sue and Tom Raschella
Kathleen Sesnon
Patricia Tall-Takacs and Gary Takacs
The Urner Family
John Walcott
Mary and Findlay Wallace
Wiatr & Associates
Marjorie Winter
Richard and Barbara Wortley
Kay Zatine
Margaret Sullivan, by
Kay I. Barmore
Robert Thorson, by
Leone Murphy
Don Thulean, by
Todd Gordon and Susan Feder
Reid and Marilyn Morgan
John and Laurel Nesholm
Llewelyn G. and Joan Ashby Pritchard
Jennifer Schwartz
Frank Veninga, by
Cheryl and Gary Lundgren
B. K. Walton, by
Penelope Yonge
Ida Louko Warren, by
Kate Wilson and Ned Washburn
Richard Yarington, by
Yoko Barnett
Cheryl Jefford
Charles and Joan Johnson
Margaret Kiyohara
Yaeko Yoshihara, by
Jean Murakami
SEATTLE SYMPHONY DONORS
Ring in the season with a Christmas celebration that is sure to warm the heart and lift your holiday spirit! This year’s program will feature the exclusive world premiere of prolific Hollywood film composer J.A.C. Redford’s A Christmas Invitation, a three-movement work composed for the Choir of the West, University Chorale and University Symphony Orchestra.
A Christmas Invitation
Tickets on sale November 2 www.plu.edu/christmas 253-535-7787
Monday, December 7, 7:30 p.m.Benaroya Concert Hall
AURORA 23632 Hwy 99, Ste P Edmonds WA 98026 206-546-6480
BALLARD 1703 NW Market St Ballard WA 98107 206-784-7565
BURIEN 457 SW 153rd Burien WA 98166 206-246-2293
UNIVERSITY 2900 NE Blakeley St, #A Seattle WA 98105 206-522-0968
Framing the Northwest since 1972
56 SEATTLESYMPHONY.ORG
SEATTLE SYMPHONY / BENAROYA HALL ADMINISTRATIVE STAFF
SENIOR MANAGEMENT TEAM
Simon WoodsPresident & CEO Leslie Jackson Chihuly Chair
Charlie WadeSenior Vice President of Marketing & Business Operations
Jennifer AdairVice President & General Manager
Maureen Campbell MelvilleVice President & Chief Financial Officer
Rosalie ContrerasVice President of Communications
Elena DubinetsVice President of Artistic Planning
Jane HargraftVice President of Development
Kristen NyQuistDirector of Board Relations & Strategic Initiatives
Pat VandenBroekDirector of Human Resources
EXECUTIVE OFFICE
Rachel MooreExecutive Assistant to the President & CEO and Senior Vice President
ARTISTIC PLANNING
Paige GilbertAssistant Artistic Administrator
Rose GearPersonal Assistant to the Music Director
Dmitriy LipayDirector of Audio & Recording
ORCHESTRA & OPERATIONS
Kelly Woodhouse BostonDirector of Operations
Ana HinzProduction Manager
Jeanne CaseOperations & Artistic Coordinator
Scott WilsonPersonnel Manager
Keith HigginsAssistant Personnel Manager
Patricia Takahashi-BlayneyPrincipal Librarian
Robert OliviaAssociate Librarian
Joseph E. CookTechnical Director
Mark Anderson, Jeff LincolnAssistant Technical Directors
Chris Dinon, Don Irving, AaronGorseth, John Roberson, MichaelSchienbein, Ira SeigelStage Technicians
EDUCATION & COMMUNITY ENGAGEMENT
Laura ReynoldsDirector of Education & Community Engagement
Thomasina Schmitt, Kristin Schneider, Stephanie RodousakisEducation & Community Engagement Managers
Becky SpiewakEducation & Community Engagement Coordinator
Jessica Andrews-Hall, SamanthaBosch, Lena Console, Sonya Harris, Aimee Hong, Deven Inch, Bryce Ingmire, Shelby Leyland, Rebecca Morhlang, Dana StaikidesTeaching Artists
Danielle ValdesDiscovery Coordinator
COMMUNICATIONS
You You XiaPublic Relations Manager
Heidi StaubEditor & Publications Manager
Jim HoltDigital Content Manager
MARKETING
Christy WoodDirector of Marketing
Rachel SpainMarketing Manager
Natalie SoulesMarketing Coordinator
Barry LalondeDirector of Digital Products
Jason HuynhDigital Marketing Manager
Herb BurkeTessitura Manager
Jessica ForsytheArt Director
Helen HodgesGraphic Designer
Forrest Schofield, Jessica AtranGroup Sales Managers
Joe BrockRetail Manager
Christina HajduSales Associate
Brent OlsenTicket Sales Manager
Nina Cesarrato, Molly Gillette, Maery SimmonsTicket Office Coordinators
Mary Austin, Melissa Bryant, Yasmina Ellis, Mike Obermeyer, Melanie Voytovich, James Bean, CaraBeth WilsonTicket Services Associates
VENUE ADMINISTRATION
Matt LaughlinSenior Facility Sales Manager
James Frounfelter, Adam MoomeyEvent & Operations Managers
Keith GodfreyHouse Manager
Tanya WanchenaAssistant House Manager & Usher Scheduler
Milicent Savage, Patrick WeigelAssistant House Managers
Dawn Hathaway, Lynn Lambie, MelLongley, Ryan Marsh, Markus Rook,Carol ZumbrunnenHead Ushers
Everett Bowling, Veronica Boyer, Evelyn GershenAssistant Head Ushers
Ron HyderTechnical Coordinator
DEVELOPMENT
Rick BakerDevelopment Officer (Assistant to the Vice President and Grants)
Jennifer SteadCampaign Director
Matt MarshallMajor Gift Officer (Campaign)
Tina SchumannCampaign Research & Operations Manager
Allison KunzeDevelopment Coordinator (Campaign)
Becky KowalsDirector of Major Gifts and Planned Giving
Marsha WolfMajor Gift Officer
Amy Bokanev, Nicholas WallsGift Officers
Blaine InafukuDevelopment Coordinator (Major Gifts)
Paul GjordingSenior Major Gift Officer (Foundations & Government Relations)
Megan HallAnnual Fund Senior Manager
Evan CartwrightData Operations Manager
Martin JohanssonDevelopment Officer (Communications & Volunteers)
Zoe FunaiData Entry Coordinator
Tami HornerSenior Manager of Special Events & Corporate Development
Samantha DeLunaSpecial Events Manager
FINANCE & FACILITIES
David NevensController
Clem ZippAssistant Controller
Lance GlennInformation Systems Manager
Megan SpielbuschAccounting Manager
Niklas MollenholtStaff Accountant
Jacqueline MoravecPayroll/AP Accountant
Bernel GoldbergGeneral Counsel
David LingFacilities Director
Kevin BakerFacilities Manager
Bob BrosinskiLead Building Engineer
Christopher HolbrookBuilding Engineer 2
Aaron BurnsBuilding Engineer 1
Rodney KretzerFacilities & Security Coordinator
HUMAN RESOURCES
Kathryn OsburnHuman Resources Generalist
Annalies SchusterFront Desk Receptionist
CONTACT US: TICKETS: 206.215.4747 / DONATIONS: 206.215.4832 / ADMINISTRATIVE OFFICES: 206.215.4700
VISIT US ONLINE: seattlesymphony.org / FEEDBACK: president@seattlesymphony.org 206.443.0445 x113 adsales@encoremediagroup.com
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EMG_07_Audience_1_12.indd 1 11/19/13 11:31 AM
$38waived
“Voted Evening Magazine’s Best of Western WA!”
HBV 072810 best 4C 1_12.pdf
Henry Bischofberger ViolinsThird Generation Violin Maker
Kirkland, WA
www.hkbviolins.com 425-822-0717
Sales Appraisals Repairs Rentals
encoreartsseattle.com 57
$5 MILLION +
The Benaroya Family
Charles Simonyi Fund for Arts and Sciences
Anonymous (1)
$1,000,000 – $4,999,999
Leslie and Dale Chihuly
The Clowes Fund, Inc.
Priscilla Bullitt Collins*
The Ford Foundation
Dave and Amy Fulton
Kreielsheimer Foundation
Marks Family Foundation
Estate of Gladys and Sam Rubinstein
Leonard and Patricia Shapiro
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
Microsoft Corporation
National Endowment for the Arts
Northwest Foundation
Estate of Elsbeth Pfeiffer
Estate of Elizabeth Richards
Jon and Judy Runstad
Weyerhaeuser Company
The William Randolph Hearst Foundations
Estate of Helen L. Yeakel
Estate of Victoria Zablocki
Anonymous (2)
$50,000 – $99,999
Dr.* and Mrs. Ellsworth C. Alvord, Jr.
Estate of Mrs. Louis Brechemin
Estate of Edward S. Brignall
Sue and Robert Collett
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
Nesholm Family Foundation
Estate of Opal J. Orr
M. C. Pigott Family
PONCHO
Estate of Mrs. Marietta Priebe
Seattle Symphony Volunteers
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
Patricia Tall-Takacs and Gary Takacs
U S WEST Communications
Estate of Dr. and Mrs. Wade Volwiler
Estate of Marion G. Weinthal
Estate of Ethel Wood
Anonymous (2)
* In Memoriam
SEATTLE SYMPHONY ENDOWMENT FUND
MUSICAL LEGACY SOCIETYThe 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 August 26, 2015.
Charles M. and Barbara Clanton Ackerman
Joan P. Algarin
Ron Armstrong
Elma Arndt
Bob and Clodagh Ash
Susan A. Austin
Rosalee Ball
Donna M. Barnes
Carol Batchelder
Janet P. Beckmann
Alan Benaroya
Donald/Sharon Bidwell Living Trust
Sylvia and Steve Burges
Dr. Simpson* and Dr. Margaret Burke
Dr. Alexander Clowes* and Dr. Susan Detweiler
Sue and Robert Collett
Dr. Marshall Corson and Mrs. Lauren Riker
Betsey Curran and Jonathan King
Frank and Dolores Dean
Robin Dearling and Gary Ackerman
Lorraine Del Prado and Thomas Donohue
John Delo
Fred and Adele Drummond
Mildred King Dunn
Sandra W. Dyer
Ann R. Eddy
David and Dorothy Fluke
Gerald B. Folland
Judith A. Fong
Jack and Jan Forrest
Russell and Nancy Fosmire
Ernest and Elizabeth Scott Frankenberg
Cynthia L. Gallagher
Jean Gardner
Carol B. Goddard
Frances M. Golding
Jeff Golub
Dr. and Mrs. Ulf and Inger Goranson
Betty Graham
Dr. Martin L. Greene
James and Darlene Halverson
Barbara Hannah
Harriet Harburn
Ken and Cathi Hatch
Michele and Dan Heidt
Ralph and Gail Hendrickson
Deena J. Henkins
Charles E. Higbee, MD
Frank and Katie Holland
Dr. Kennan H. Hollingsworth
Chuck and Pat Holmes
Richard and Roberta Hyman
Janet Aldrich Jacobs
Dr. Barbara Johnston
Norman J. Johnston* and L. Jane Hastings Johnston
Atul R. Kanagat
Don and Joyce Kindred
Dell King
Douglas F. King
Stephen and Barbara Kratz
Frances J. Kwapil
Ned Laird
Paul Leach and Susan Winokur
Lu Leslan
Marjorie J. Levar
Jeanette M. Lowen*
Ted and Joan Lundberg
Judsen Marquardt
Ian and Cilla Marriott
Doug and Joyce McCallum
Jean E. McTavish
William C. Messecar
Elizabeth J. Miller
Mrs. Roger N. Miller
Murl G. Barker and Ronald E. Miller
Reid and Marilyn Morgan
George Muldrow
Marr and Nancy Mullen
Isa Nelson
Gina W. Olson
Sarah M. Ovens
Donald and Joyce Paradine
Dick and Joyce Paul
Stuart N. Plumb
Mrs. Eileen Pratt Pringle
Mr. and Mrs. W. H. Purdy
J. Stephen and Alice Reid
Bernice Mossafer Rind
Bill* and Charlene Roberts
Junius Rochester
Jan Rogers
Mary Ann Sage
Thomas H. Schacht
Judith Schoenecker and Christopher L. Myers
Annie and Leroy Searle
Allen and Virginia Senear
Leonard and Patricia Shapiro
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
Morton A. Stelling
Patricia Tall-Takacs and Gary Takacs
Gayle and Jack Thompson
Dr. and Mrs. Arthur Torgerson
Betty Lou and Irwin* Treiger
Sharon Van Valin
Dr. Robert Wallace
Judith Warshal and Wade Sowers
Douglas Weisfield
James and Janet Weisman
John and Fran Weiss
Gerald W. and Elaine* Millard West
Selena and Steve Wilson
Ronald and Carolyn Woodard
Arlene A. Wright
Janet E. Wright
Anonymous (43)
* In Memoriam
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 August 26, 2015. For information on endowed gifts and naming opportunities in Benaroya Hall, please contact Becky Kowals at 206.215.4852 or becky.kowals@seattlesymphony.org.
58 SEATTLESYMPHONY.ORG
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 August 31, 2015. Thank you for your support — our donors make it all possible!
$50,000 – $99,999
Boeing Matching Gift Program
Christensen O’Connor Johnson Kindness PLLC †
Clowes Fund, Inc.
J.P. Morgan Chase & Co.
KEXP †
John Graham Foundation
Laird Norton Wealth Management
Microsoft Corporation
Nesholm Family Foundation
Seattle Met Magazine †
$25,000 – $49,999
Ann and Gordon Getty Foundation
Bank of America Merrill Lynch
Bill & Melinda Gates Foundation
BNSF Foundation
CTI BioPharma Corp.
Classic Pianos ◊
Classical King FM †
Elizabeth McGraw Foundation
Four Seasons Hotel †
Garvey Schubert Barer †
J.P. Morgan Chase & Co.
Mercer †
Microsoft Matching Gifts
Peach Foundation
RBC Wealth Management
Russell Investments
Wells Fargo
$15,000 – $24,999
Aaron Copland Fund For Music
Ann and Gordon Getty Foundation and the League of American Orchestras
Chihuly Studio †
Coca-Cola Company Matching Gifts
Holland America Line
Jean K. Lafromboise Foundation
Sheri and Les Biller Family Foundation
$10,000 – $14,999
Foster Pepper PLLC
Fran’s Chocolates ◊
Lakeside Industries
Leco-sho†
Macy’s Foundation
Milliman ◊
Music4Life †
Norman Archibald Foundation
NW Cadillac Dealer Group
Perkins Coie LLP
Rosanna, Inc. †
Sheraton Seattle Hotel †
Snoqualmie Tribe
U.S. Bank Foundation
Washington Employers †
Weill Music Institute †
Wild Ginger Restaurant †
Anonymous
$5,000 – $9,999
Accountemps †
Acucela Inc.
Amphion Foundation
Audio Visual Factory †
Barnard Griffin Winery †
Barrier Motors
Bellevue Children’s Academy
The Benaroya Company
Brown Bear Car Wash
Finlandia Foundation National
Hotel Andra †
HSBC
Johnson & Johnson Matching Gifts Program
Key Bank
MacDonald Hoague & Bayless †
Mayflower Park Hotel †
MulvannyG2 Architecture
Nordstrom
NW Audi Dealer Group
Peg and Rick Young Foundation
Russell Family Foundation
Skanska USA
Snoqualmie Casino
Stoel Rives
Starbucks Coffee Company †
Tulalip Tribes Charitable Fund
Vitalogy Foundation
Von’s †
Wyman Youth Trust
$3,000 – $4,999
Bank of America Foundation Matching Gifts
Bill & Melinda Gates Foundation Matching Gifts
Brandon Patoc Photography †
Clark Nuber, PS
Community Attributes †
Fales Foundation
Glazer’s Camera †
Motif Hotel
Nintendo of America, Inc.
Parker Smith Feek
The PONCHO Foundation
Schwabe, Williamson & Wyatt
$1,000 – $2,999
A-1 Pianos
Acción Cultural Española
Alfred & Tillie Shemanski Trust Fund
Bang & Olufsen
Barghausen Consulting Engineers, Inc.
Blanke Foundation
DreamBox Learning
Genworth Foundation
Hard Rock Cafe Seattle †
IBM International Foundation
Kells Irish Restaurant & Pub †
National Frozen Foods Corporation
Pacific Coast Feather Co.
Schiff Foundation
Seattle Symphony Volunteers
Thurston Charitable Foundation
UBS Employee Giving Programs
UniBank
United Health Care
Wilson Sonsini Goodrich & Rosati Foundation
† In-Kind Support
◊ Financial and In-Kind Support
CORPORATE & FOUNDATION 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.
GOVERNMENT SUPPORT
$500,000+
Seattle Symphony Foundation
$100,000 – $499,999
ANONYMOUS
encoreartsseattle.com 59
Gold Club$50,000 - $150,000
Neukom Family
Mary Pigott
Pete and Julie Rose
$25,000 - $49,999
Bamford Foundation
William Beeks
Carl and Renee Behnke
Katharyn Alvord Gerlich
Mr. and Mrs. Lawrence and Mary Ellen Hughes
John Graham Foundation
Joshua Green Foundation
Patricia Britton and Stellman Keehnel
Sandy and Chris McDade
Norcliffe Foundation
Moccasin Lake Foundation
Stephen P. and Paula R. Reynolds
Conductor’s Circle$10,000 - $24,999Nancy Alvord
Judi Beck and Tom A. Alberg
Allan E. and Nora Davis
Jim and Gaylee Duncan
Ray Heacox and Cynthia Huffman
Peter and Peggy Horvitz
Jon and Mary Shirley Foundation
Glenn Kawasaki
Deborah Killinger
Thomas and Gwen Kroon
Charlotte Lin and Robert Porter
Faye Sarkowsky
Mary Snapp
Anonymous (1)
First Chair$5,000 - $9,999Chap and Eve AlvordSteve Behnen and Mary HornsbyMichael and Anne BentleyMatthew N. Clapp Jr.Creelman FoundationMrs. Jane Davis and Dr. David R.
Davis
Rosanne Esposito-Ross and Louis Ross
Kevin and Lynne FoxWilliam FranklinHeather HowardThe Hugh and Jane Ferguson
FoundationEd KimLoeb Family Charitable
FoundationsBlanche and Stephen MaxwellDouglas and Joyce McCallumAnthony R. MilesNesholm Family FoundationNorman Archibald Charitable
FoundationJudy PigottCarol and Doug PowellAnn Ramsay-Jenkins and the
William M. Jenkins FundJames and Katherine TuneVijay and Sita VasheeRichard and Leslie WallisRichard L. WeismanDr. Clyde and Mrs. Kathleen WilsonAnn P. WyckoffLynn Hubbard and David ZapolskyAnonymous (1)
Encore$2,500 - $4,999Kim A. AndersonBob and Clodagh AshBill and Nancy BainMichelle BarnetJohn H. BauerAnnette and Daniel BeckerSue and Artie BuerkJudith ChapmanMs. Melanie CurticePeter and Susan DavisKarl John EgeMichael and Melanie FinkRobert FlemingJed Fowler and Elisabeth BeaberRod FujitaLynn and Brian GrantMaria GunnAya HamiltonRichard and Marilyn HerzbergPete Higgins and Leslie Magid
HigginsMari HoritaDan and Connie HungateJeff Ing in Honor of Vera and
Joey IngRandle Inouye in Honor of Frank
Fujii
Janet Wright Ketcham FoundationDana and Roger LorenzeMichael and Barbara MaloneTim Mauk and Noble GoldenBruce and Jolene McCawAlison and Glen MillimanDouglas E. & Nancy P. NorbergNancy S. NordhoffGlenna Olson and Conrad WoutersCara PostilionMarlene PriceScott RedmanMark and Daryl RussinovichStan and Ingrid SavageSchoenfeld-Gardner FoundationKeith Schreiber and Clare KapitanAlane and Doyle SimonsJane SimpsonElaine Spencer and Dennis ForsythJohn StarbardCharles and Delphine StevensBrad Smith and Kathy Surace-
SmithGail and Bill Weyerhaeuser
Anonymous (1)
$100,000 - $349,999$350,000 and up
$25,000 - $49,999DLA Piper*
Getty Images*
King County Employee Charitable Campaign*
Little Big Show – KEXP, STG & Starbucks
Perkins Coie*
Stoel Rives LLP*
Washington State Combined Fund Drive*
$10,000 - $24,9994CultureAmazonCenturyLinkChihuly Garden and GlassClise Properties Inc.The Commerce Bank of Washington*Dapper + AssociatesDavis Wright Tremaine LLP*Dorsey & Whitney LLP*K&L Gates*King County
Medical Consultants Network, Inc.*Nordstrom, Inc.R.D. Merrill CompanyRealNetworks FoundationRussell InvestmentsUnion BankVisit Seattle
$5,000 - $9,999Alaskan Copper & Brass Company and
Alaskan Copper WorksBellevue Arts CommissionBNY Mellon Wealth Management
Columbia BankErnst & Young LLPFishing Company of AlaskaGaco Western, Inc.Gensler ArchitectsNeiman MarcusNintendo of America Inc.Puget Sound Business JournalRaisbeck FoundationSeattle Office of Arts & Cultural AffairsVirginia Mason
Arts Benefactor Circle
Support from Microsoft Corporation, The Boeing Company, Sellen Construction, Starbucks Coffee Company, KING 5 and POP includes employee workplace giving.
*Includes employee workplace giving
Pledges and donations made between 7/1/14 - 6/30/15Visit www.artsfund.org for a full list of our donors and to learn more about ArtsFund
Thank you to all our donors for sharing and supporting our vision of a community with a dynamic and world-class arts and cultural sector where the arts are accessible to all and valued as central and critical to a healthy society.
Campaign 2015 Donors
ArtsFund strengthens the community by supporting the arts through leadership, advocacy and grant making.
$50,000 - $99,999
$25,000 - $49,999
Untitled-1 1 9/2/15 11:01 AM
60 SEATTLESYMPHONY.ORG
EncoreArtsSeattle.com
PREVIEWSARTIST SPOTLIGHT
WIN ITBEHIND THE SCENES
PROGRAMLIBRARY
GET WITH ITVisit EncoreArtsSeattle for an inside look at Seattle’s performing arts.
EncoreArtsSeattle.com
PREVIEWSARTIST SPOTLIGHT
WIN ITBEHIND THE SCENES
PROGRAMLIBRARY
GET WITH ITVisit EncoreArtsSeattle for an inside look at Seattle’s performing arts.
YOUR GUIDE TO BENAROYA HALL
SYMPHONICA, THE SYMPHONY STORE:
Located in The Boeing Company Gallery, Symphonica
opens 90 minutes prior to all Seattle Symphony
performances and remains open through intermission.
PARKING: You may purchase prepaid parking
for the Benaroya Hall garage when you purchase
concert tickets. Prepaid parking may be purchased
online or through the Ticket Office. If you wish to
add prepaid parking to existing orders, please
contact the Ticket Office at 206.215.4747.
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.
SMOKING POLICY: Smoking is not
permitted in Benaroya Hall. Smoking areas
are available along Third Avenue.
EMERGENCY PHONE NUMBER: Please leave the
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.
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.
SERVICES FOR HARD-OF-HEARING PATRONS:
An infrared hearing system is available for patrons
who are hard of hearing. Headsets are available
at no charge on a first-come, first-served basis
in The Boeing Company Gallery coat check and
at the Head Usher stations in both lobbies.
ADMISSION OF CHILDREN: Children under the age of
5 will not be admitted to Seattle Symphony performances
except for specific age-appropriate children’s concerts.
BENAROYA HALL: Excellent dates are available for
those wishing to plan an event in the S. Mark Taper
Foundation Auditorium, the Illsley Ball Nordstrom
Recital Hall, the Samuel & Althea Stroum Grand
Lobby and the Norcliffe Founders Room. Call Matt
Laughlin at 206.215.4813 for more information.
SHARE THE MUSIC THROUGH TICKET DONATION:
If you are unable to attend a concert, we encourage
you to exchange your tickets for another performance
or donate your tickets prior to the performance. When
you donate your tickets to the Seattle Symphony for
resale, you not only receive a donation tax receipt,
you also open your seat for another music lover.
If you would like to donate your tickets for resale,
please contact the Seattle Symphony Ticket Office
at 206.215.4747 or 1.866.833.4747 (toll-free outside
local area) at your earliest convenience, or call our
recorded donation line, 206.215.4790, at any time.
DINING AT BENAROYA HALLPowered 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.
OPENING NIGHT GALA, SEPTEMBER 19, 2015Honoring Ann P. Wyckoff
PRESENTING SPONSORLaird Norton Wealth Management
Jean-Yves Thibaudet generously sponsored by
Jean-François and Catherine Heitz through the Seattle Symphony’s Guest Artist Circle
CO-CHAIRSRenée Brisbois, Nader Kabbani and Betty Tong
COMMITTEERosanna Bowles
Leslie Jackson Chihuly
Linda Cole
Christine Cote-Wissman
Kathy Fahlman Dewalt
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-CHAIRSRebecca Layman Amato and Claire Angel
COMMITTEEMichelle Codd
Roberta Downey
JoAnn Forman
Ghizlane Morlot
Tiffany Moss
Rena O’Brien
Marnie Roozen
Katrina Russell
Jill Singh
Leslie Whyte
TEN GRANDS, MAY 8, 2015
PRESENTING SPONSORRBC Wealth Management
Kathy Fahlman Dewalt Co-Founder and Executive Director
COMMITTEE
Cheri BrennanBen KlingerCarla NicholsSherrie LiebsackDeanna L. SigelStephanie White
CLUB LUDO, JUNE 6, 2015
PRESENTING SPONSORCTI BioPharma
CHAIR
Ryan Mitrovich
COMMITTEE
Shawn BoundsEric JacobsAlex KleinTiffany MossGrace Yoo
SEATTLE SYMPHONY SPECIAL EVENTS SPONSORS & COMMITTEES
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.
62 SEATTLESYMPHONY.ORG
THE LIS(Z)TSEEN & HEARD @ THE SEATTLE SYMPHONY
PHOTOS: All photos taken at the May 14, 2015 Link Up: Seattle Symphony concert under the direction of former Associate Conductor Stilian Kirov, hosted by K. Brian Neel, with
special guests including the Chief Sealth High School Drumline. Photos by Ben VanHouten.
In May the S. Mark Taper Foundation Auditorium was filled with the electrifying energy of thousands of third- through fifth-grade students performing along with the Symphony in the culmination of the 2014–2015 Link Up: Seattle Symphony program, The Orchestra Rocks. Now going into its fourth season at the Symphony, Link Up is a highly participatory curriculum that teaches students to sing and play instruments in their classrooms, then invites them to join the orchestra for an interactive concert at the end of the year.
During the five Link Up concerts, more than 9,000 students came to Benaroya Hall, representing over 100 schools from 25 districts
around the Puget Sound. In preparation for their concert, over 2,000 students participated in Link Up residencies with Seattle Symphony Teaching Artists, ranging from five to 10 weeks, deepening their musical journey through the Link Up program.
Link Up: Seattle Symphony is made possible through the generous support of The Boeing Company; The Clowes Fund, Inc.; The Sheri and Les Biller Family Foundation; and many other foundation, government and individual contributors. For more information about Link Up: Seattle Symphony, visit us online at seattlesymphony.org/linkup or call 206.336.6603.
Read past editions of The Lis(z)t at seattlesymphony.org/liszt.
LINK UP: SEATTLE SYMPHONY
encoreartsseattle.com 63
Bellevue The Shops at the Bravern (425) 467-0500
Hermes.com
F L Â N E U R F O R E V E R
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