seattle symphony october-2015 encore arts...

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

http://seattlesymphony.org

IN THIS ISSUE

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212.229.0009

www.glossstudio.com

2015-09-04

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Encore

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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



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

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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:

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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


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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


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

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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

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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


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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


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

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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


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:[email protected] | 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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Carl Nielsen, 1908

The Inextinguishable Nielsen


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


October 2015Volume 29, No. 2

Paul Heppner Publisher

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Encore Arts Programs is published monthly by Encore Media Group to serve musical and theatrical events in the Puget Sound and San Francisco Bay Areas. All rights reserved. ©2015 Encore Media Group. Reproduction without written permission is prohibited.

®®

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


http://www.encoreartsseattle.com/

http://www.cityartsonline.com/

http://musicofremembrance.org

http://uwworldseries.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


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


Sunday, October 25, at 2pm

BEETHOVEN PIANO CONCERTO NO. 1


[UNTITLED] 1[UNTITLED] SERIES

P. 43Tuesday, October 27, at 7:30pm

BERNSTEIN & SHOSTAKOVICHCHAMBER SERIES


SONIC EVOLUTION: UNDER THE INFLUENCESPECIAL PERFORMANCES



HITCHCOCK PSYCHO WITH THE SEATTLE SYMPHONYSPECIAL PERFORMANCES


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



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.


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


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

http://dinearoundseattle.org

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.


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

have received numerous awards. She is

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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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.





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.


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.


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



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





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


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.


Sonata in C minor, Op. 111

Maestoso–Allegro con brio ed appassionato

Arietta: Adagio molto semplice cantabile




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.


Sonata in D major, K. 576

Allegro Adagio Allegretto


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



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


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


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Friday, October 16, 2015, at 8pm



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.





SEATTLE POPS SERIES

TITLE SPONSOR

THE SEATTLE SYMPHONY

THANKS MCM FOR MAKING

THE SEATTLE POPS SERIES POSSIBLE.


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


Supporting the Seattle Symphony as a member of the Founders Circle is an exciting and rewarding way to increase your impact and enhance your connection to the orchestra.

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.

JOIN US TODAY!

To request a Founders Circle brochure or to learn more about opportunities and benefits, please contact [email protected] or call 206.215.4733.

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’





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



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


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




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.






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


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



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.


Piano Concerto No. 1 in C major, Op. 15

Allegro con brio Largo Rondo: Allegro



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



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.


Symphony No. 41 in C major, K. 551, “Jupiter”

Allegro vivace Andante cantabile Allegretto Molto allegro


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



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’





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


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


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





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


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




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.





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


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


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

16TICKETS ON SALE NOW



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




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




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


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)


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



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




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



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


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 [email protected] or 206.215.4832. Thank you!


ESTATE GIFTS

We gratefully remember the following individuals for their generosity and forethought, and for including the Seattle Symphony in their will, trust or beneficiary designation. These legacy gifts provide vital support for the Symphony now and for future generations. (Estate gifts since September 1, 2013.)

Glenn H. Anderson

Barbara and Lucile Calef

Robert E. and Jeanne Campbell

Daniel R. Davis

Carmen Delo

Sherry Fisher

Marion O. Garrison

Elizabeth C. Giblin

Carol Hahn-Oliver

Nancy N. Keefe

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


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


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 [email protected] 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


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


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 [email protected].

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


Dr. Kennan H. Hollingsworth

Becky Kowals

John and Nancy Lightbody

Jack and Sandy McCullough

C. Gardner McFall and Peter Olberg


Laird Norton Wealth Management

Carolyn and Michael Patterson

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


S. Patricia Cook, by

Capt. Charles Cook

Clayton Corzatte, by

Susan Corzatte

Claudia Kay Kraft Cranbery, by

Shari Dworkin

Deborah Carley Emory, by


Gretchen Faulstich, by

Cheryl and Gary Lundgren

Arthur Fong, by


Donald Isle Foster, by

Katharyn Alvord Gerlich

Ginger and Parks Anderson

Terry Arnett



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



Sally Clark Gorton, by

Carrol Steedman

Dr. David Grauman, by

Bob and Clodagh Ash


Jane and David R. Davis

Mr. and Mrs. David L. Fluke


Mr. and Mrs. Charles Johnson

Helen Kearny

Reid and Marilyn Morgan


Mr. and Mrs. Thomas Raschella

L. Elsie Weaver

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


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


Ron Johnson, by

Mark McCampbell

Betty Winfield and Barry Hyman

Susanne Kellar, by


Lisa Lederer, by

Kay I. Barmore

Robert Loring, by

David Loring

Pat Marshall, by


Illene and Mickey Maurer, by


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


John and Ann Heavey

Janet W. Ketcham

William and Marlene Louchheim

Janice R. Lurie



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



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


James Stubner, by

Bucknell Stehlik Sato & Stubner, LLP


Doug and Gail Creighton

Cousins Pam, Tim, Terry and Julie, and Uncle Ron Collins

Carol B. Goddard

Robert and Rhoda Jensen

Ken Kataoka

John King

Richard* and Beverly Luce

Natalie Malin


Dustin Miller


Carole Narita

Kenneth and Catherine Narita, Kimberly and Andy Absher, Karen and Steve Shotts, and Kristen Narita

Leona Narita

Ruby Narita


Sue and Tom Raschella

Kathleen Sesnon


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




Jennifer Schwartz

Frank Veninga, by


B. K. Walton, by

Penelope Yonge

Ida Louko Warren, by

Kate Wilson and Ned Washburn

Richard Yarington, by

Yoko Barnett

Cheryl Jefford

Charles and Joan Johnson

Margaret Kiyohara

Yaeko Yoshihara, by

Jean Murakami


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


http://plu.edu/christmas

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: [email protected] 206.443.0445 x113 [email protected]

Advertise in

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206.443.0445 x113 [email protected]

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$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


http://hkbviolins.com

http://nwboychoir.org

$5 MILLION +

The Benaroya Family

Charles Simonyi Fund for Arts and Sciences

Anonymous (1)

$1,000,000 – $4,999,999


The Clowes Fund, Inc.

Priscilla Bullitt Collins*

The Ford Foundation

Dave and Amy Fulton

Kreielsheimer Foundation

Marks Family Foundation

Estate of Gladys and Sam Rubinstein


Samuel* and Althea* Stroum

Dr. Robert Wallace

$500,000 – $999,999

Alex Walker III Charitable Lead Trust

Mrs. John M. Fluke, Sr.*

Douglas F. King

Estate of Ann W. Lawrence

The Norcliffe Foundation

Estate of Mark Charles Paben

James D. and Sherry L. Raisbeck Foundation

Joan S. Watjen, in memory of Craig M. Watjen

$100,000 – $499,999

Estate of Glenn H. Anderson

Andrew W. Mellon Foundation

Bob and Clodagh Ash

Alan Benaroya

Estate of C. Keith Birkenfeld

Mrs. Rie Bloomfield*

The Boeing Company

C.E. Stuart Charitable Fund

Dr. Alexander Clowes* and Dr. Susan Detweiler

Richard and Bridget Cooley

Mildred King Dunn

E. K. and Lillian F. Bishop Foundation

Estate of Clairmont L. and Evelyn Egtvedt

Estate of Ruth S. Ellerbeck

Senator and Mrs. Daniel J. Evans

Fluke Capital Management

Estate of Dr. Eloise R. Giblett

Agnes Gund

Helen* and Max* Gurvich

Estate of Mrs. James F. Hodges

Estate of Ruth H. Hoffman

Estate of Virginia Iverson

Estate of Peggy Anne Jacobsson

Estate of Charlotte M. Malone

Bruce and Jolene McCaw

Bruce and Jeanne McNae


National Endowment for the Arts

Northwest Foundation

Estate of Elsbeth Pfeiffer

Estate of Elizabeth Richards

Jon and Judy Runstad

Weyerhaeuser Company

The William Randolph Hearst Foundations

Estate of Helen L. Yeakel

Estate of Victoria Zablocki

Anonymous (2)

$50,000 – $99,999


Estate of Mrs. Louis Brechemin

Estate of Edward S. Brignall


Frances O. Delaney*

John and Carmen* Delo

Estate of George A. Franz

Jean Gardner

Estate of Mr. and Mrs. Irvin Gattiker

Anne Gould Hauberg

Richard and Elizabeth Hedreen

Estate of William K. and Edith A. Holmes

John Graham Foundation

Mr. and Mrs. Stanley P. Jones

Estate of Betty L. Kupersmith

John and Cookie* Laughlin

E. Thomas McFarlan

Estate of Alice M. Muench


Estate of Opal J. Orr

M. C. Pigott Family

PONCHO

Estate of Mrs. Marietta Priebe


Mr. and Mrs. Paul R. Smith

Estate of Frankie L. Wakefield

Estate of Marion J. Waller

Washington Mutual

Anonymous (1)

$25,000 – $49,999

Edward and Pam Avedisian

Estate of Bernice Baker

Estate of Ruth E. Burgess

Estate of Barbara and Lucile Calef

Mrs. Maxwell Carlson

Alberta Corkery*

Norma Durst*

Estate of Margret L. Dutton

Estate of Floreen Eastman

Hugh S. Ferguson*

Mrs. Paul Friedlander*

Adele Golub

Patty Hall

Thomas P. Harville

Harold Heath*

George Heidorn and Margaret Rothschild*

Phyllis and Bob Henigson

Michael and Jeannie Herr

Charles E. Higbee, MD and Donald D. Benedict

Mr. and Mrs. L. R. Hornbeck

Sonia Johnson*

The Keith and Kathleen Hallman Fund

David and Karen Kratter

Estate of Marlin Dale Lehrman

Estate of Coe and Dorothy Malone

Estate of Jack W. McCoy

Estate of Robert B. McNett

Estate of Peter J. McTavish

Estate of Shirley Callison Miner

PACCAR Foundation

Estate of Elizabeth Parke

Mr. and Mrs. W. H. Purdy

Keith and Patricia Riffle

Rita* and Herb* Rosen and the Rosen Family

Jerry and Jody Schwarz

Seafirst Bank

Seattle Symphony Women’s Association

Security Pacific Bank


U S WEST Communications

Estate of Dr. and Mrs. Wade Volwiler

Estate of Marion G. Weinthal

Estate of Ethel Wood

Anonymous (2)

* In Memoriam

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 [email protected]. 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


Dr. Marshall Corson and Mrs. Lauren Riker

Betsey Curran and Jonathan King

Frank and Dolores Dean

Robin Dearling and Gary Ackerman

Lorraine Del Prado and Thomas Donohue

John Delo

Fred and Adele Drummond

Mildred King Dunn

Sandra W. Dyer

Ann R. Eddy


Gerald B. Folland

Judith A. Fong

Jack and Jan Forrest

Russell and Nancy Fosmire

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


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


Jean E. McTavish

William C. Messecar

Elizabeth J. Miller

Mrs. Roger N. Miller

Murl G. Barker and Ronald E. Miller


George Muldrow

Marr and Nancy Mullen

Isa Nelson

Gina W. Olson

Sarah M. Ovens

Donald and Joyce Paradine

Dick and Joyce Paul

Stuart N. Plumb

Mrs. Eileen Pratt Pringle

Mr. and Mrs. W. H. Purdy

J. Stephen and Alice Reid

Bernice Mossafer Rind

Bill* and Charlene Roberts

Junius Rochester

Jan Rogers

Mary Ann Sage

Thomas H. Schacht

Judith Schoenecker and Christopher L. Myers

Annie and Leroy Searle

Allen and Virginia Senear


Jan and Peter Shapiro

John F. and Julia P.* Shaw

Barbara and Richard Shikiar

Valerie Newman Sils

Evelyn Simpson

Betty J. Smith

Katherine K. Sodergren

Althea C. and Orin H.* Soest

Sonia Spear

Morton A. Stelling


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 [email protected].


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 †


Laird Norton Wealth Management



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


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


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


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


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.

http://encoreartsseattle.com

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.


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


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