seattle symphony_january_2017_encore arts seattle
TRANSCRIPT
JANUARY 2017
SHOSTAKOVICH
FESTIVALTWO POWERFUL CONCERTS
THREE RISING STARS
MEGAN HILTY SINGS SINATRA & MORE
LEARNING ITALIAN WITH PAUL RAFANELLI
CONTENTS
Laird Norton is a very proud supporter of the Seattle Symphony. Community building and the pursuit of excellence are core values shared by both the Symphony and Laird Norton. In partnership, we celebrate the relentless pursuit of innovation and musical excellence that unite our community and create lasting legacies.
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4 / CALENDAR
6 / THE ORCHESTRA
8 / SIMPLE GIFTS
10 / NOTES
FEATURES
12 / BREAKING THE FRAME Can Shostakovich escape our demands for a political martyr?
14 / IF LUCK BE A LADY Her name might be Megan Hilty
CONCERTS
17 / January 5, 7 & 8
BEETHOVEN SYMPHONY NO. 9
26 / January 10
WINDBORNE’S THE MUSIC OF DAVID
BOWIE: A ROCK SYMPHONY WITH THE
SEATTLE SYMPHONY
28 / January 13–15
LUCK BE A LADY MEGAN HILTY SINGS
SINATRA & MORE
30 / January 19
SHOSTAKOVICH CONCERTO FESTIVAL I
34 / January 20
SHOSTAKOVICH CONCERTO FESTIVAL II
36 / January 26 & 28
MENDELSSOHN & SCHUBERT
40 / January 27
SCHUBERT UNTUXED
42 / January 27
[UNTITLED] 2
54 / GUIDE TO THE SEATTLE
SYMPHONY
55 / THE LIS(Z)T
CONTENTS
ON THE COVER: Edgar Moreau (p. 30) by Julien Mignot
COVER DESIGN: Jessica Forsythe
EDITOR: Heidi Staub
© 2017 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.
JANUARY 2017
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28 / MEGAN HILTY
30 / ALEKSEY SEMENENKO30 / KEVIN AHFAT
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.
January & February
SUNDAY MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY SATURDAY
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 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
■ JANUARY 7:30pm Beethoven Symphony No. 9
8pm Beethoven Symphony No. 9
1pm Metropolitan Opera National Council Auditions
2pm Beethoven Symphony No. 9
7:30pm Live @ Benaroya Hall: Windborne’s The Music of David Bowie: A Rock Symphony with the Seattle Symphony
8pm Luck Be A Lady Megan Hilty Sings Sinatra & More
7:30pm EMG presents Musica Pacifica: Alla Napolitana
8pm Luck Be A Lady Megan Hilty Sings Sinatra & More
2pm Luck Be A Lady Megan Hilty Sings Sinatra & More
7:30pm Shostakovich Concerto Festival I
8pm Shostakovich Concerto Festival II
2pm National Geographic Live: Point of No Return
12:30pm Watjen Concert Organ Recital – Free Demo
7:30pm National Geographic Live: Point of No Return
7:30pm National Geographic Live: Point of No Return
7:30pm Mendelssohn & Schubert
7:30pm UW Side-by-Side Concert
7pm Schubert Untuxed
10pm [untitled] 2
2pm Seattle Philharmonic Orchestra: Mozart’s Piano Concerto No. 24
8pm Mendelssohn & Schubert
12pm Roosevelt HS Side-by-Side Concert
7pm NWAA, KNKX 88.5 FM & The Stranger present An Evening with Ira Glass
■ FEBRUARY
10am Friends Open Rehearsal*
7:30pm Seattle Arts & Lectures presents Helen Macdonald
7:30pm Emanuel Ax Beethoven Emperor
7:30pm EMG presents Seattle Baroque Orchestra: Le Mozart Noir
7:30pm CAF presents Masters of Scottish Arts
10am & 12pm Sensory Friendly Concerts: Two Cats
8pm Emanuel Ax Beethoven Emperor
8pm Seattle Music Exchange Project
10am & 12pm Sensory Friendly Concerts: Two Cats
7:30pm Hilary Hahn Bruch Violin Concerto No. 1
7:30pm Northwest Sinfonietta: Prokofiev & Tchaikovsky
8pm Leonidas Kavakos & Yuja Wang in Recital
8pm Hilary Hanh Bruch Violin Concerto No. 1
2pm Hilary Hahn Bruch Violin Concerto No. 1
7pm Byron Schenkman & Friends: Russians & Jews
7:30pm Joseph Adam
7:30pm Live @ Benaroya Hall: Taylor Hicks
10:30am Tiny Tots: Mother Goose Goes to the Symphony
8pm Joshua Bell Tchaikovsky Violin Concerto
9:30, 10:30 & 11:30am Tiny Tots: Mother Goose Goes to the Symphony
2 & 8pm Joshua Bell Tchaikovsky Violin Concerto
7:30 pm Seattle Repertory Jazz Orchestra
12 & 5:30pm WA Music Educators Association Concerts
7:30pm Schubert Octet
7:30pm Live @ Benaroya Hall RAIN: A TRIBUTE TO THE BEATLES
10am Friends Onstage Rehearsal*
8pm Bach & Handel
8pm Live @ Benaroya Hall: Hot Tuna
8pm Bach & Handel
LEGEND: Seattle Symphony Events Benaroya Hall Events *Donor Events: Call 206.215.4832 for more information
2pm National Geographic Live: The Risky Science of Exploration
2pm Pacific MusicWorks presents Handel’s Tenor: Beard’s Beauties
7:30pm National Geographic Live: The Risky Science of Exploration
7:30pm National Geographic Live: The Risky Science of Exploration
Photos: Megan Hilty (January 13–15) by Sidney Beal; National Geographic Live (January 22–24) by Hilaree O’Neill; Hilary Hahn (February 9, 11 & 12) by Michael Patrick O’Leary; National Geographic Live (February 26–28) by Wes Skiles
MEGAN HILTY
NATIONAL GEOGRAPHIC LIVE
HILARY HAHN
NATIONAL GEOGRAPHIC LIVE
SSO057-Calendar.indd 1 12/22/16 3:09 PM
4 SEATTLESYMPHONY.ORG
CONNECT WITH US:Share your photos using #SeattleSymphony
and follow @seattlesymphony on Facebook,
Instagram and Twitter. Download the Listen
Boldly app to easily purchase tickets, skip the
Ticket Office lines and receive exclusive offers.
seattlesymphony.org
TICKETS: 206.215.4747
GIVE: 206.215.4832
■ ON THE BEAT See Who’s Here to Hear
“I come to concerts all the time. I’m a
huge Beethoven fan. I mean, over the
top. Did you know his favorite meal
was macaroni and cheese? His Ninth
Symphony is so fantastic, but Seven is
wicked good. The louder the better! I
was raised in the ‘60s and ‘70s, so I grew
up listening to a lot of rock and roll — The
Beatles, Creedence, Rolling Stones. Now
I mostly listen to Classical KING FM and
NPR. I also enjoy gardening. I helped put
together a 28,000 square foot garden for
a community out in Issaquah where I live,
so I guess you could say I’m enjoying
harvesting green beans and listening to
classical music right now.”
— Gary
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FIRST TIME AT THE 5TH!
THE PAJAMA GAMEFEBRUARY 10 – MARCH 5, 2017
Things are getting pretty steamy at the Sleep-Tite Pajama Factory where the new boss is falling hard for the fiery union rep. Sparks fly when the workers go on strike. It seems love, sex and politics are as hot as ever.
(206) 625-1900 GROUPS OF 10 OR MORE CALL 1-888-625-1418 | ON 5TH AVENUE IN DOWNTOWN SEATTLE
WWW.5THAVENUE.ORGTHE 5TH AVENUE THEATRE - THE NATION’S LEADING MUSICAL THEATER!
2016/17 SEASON SPONSORS
A COMEDY TO DIE FOR!
MURDER FOR TWOMARCH 25 – JUNE 11, 2017 A Co-Production presented at ACT-A Contemporary Theatre
Everyone is a suspect in Murder for Two—a drop-dead funny murder mystery musical with a twist: One actor investigates the crime; the other plays all the suspects—and they both play the piano! A zany blend of classic musical comedy and madcap mystery, this ninety-minute whodunit is a highly theatrical duet loaded with killer laughs.
Through Sep 10, 2017
MOHAI.org | #edibleMOHAI
encoreartsseattle.com 5
LUDOVIC MORLOT Harriet Overton Stimson Music Director
Thomas Dausgaard, Principal Guest Conductor
Joseph Crnko, Associate Conductor for Choral Activities
Pablo Rus Broseta, Douglas F. King Associate Conductor
Gerard Schwarz, Rebecca & Jack Benaroya Conductor Laureate
SEATTLE SYMPHONY ORCHESTRA ROSTER
FIRST VIOLIN
Open PositionDavid & Amy Fulton Concertmaster
Open PositionClowes 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
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
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 Supported by their children in memory of Helen and Max Gurvich
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
Jeffrey BarkerAssociate Principal
Judy Washburn Kriewall
Zartouhi Dombourian-Eby
PICCOLO
Zartouhi Dombourian-EbyRobert & Clodagh Ash Piccolo
OBOE
Mary LynchPrincipal Supported by anonymous donors
Ben HausmannAssociate Principal
Chengwen Winnie Lai
Stefan Farkas
ENGLISH HORN
Stefan Farkas
CLARINET
Benjamin LulichMr. & Mrs. Paul R. Smith Principal Clarinet
Laura DeLucaDr. Robert Wallace Clarinet
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
Jonathan KarschneyAssistant Principal
Jenna Breen
John Turman
Adam Iascone
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 Olka**Principal
TIMPANI
Michael CrusoePrincipal
Matthew DeckerAssistant Principal
PERCUSSION
Michael A. WernerPrincipal
Michael Clark
Matthew Decker
HARP
Valerie Muzzolini GordonPrincipal Supported by Eliza and Brian Shelden
KEYBOARD
Kimberly Russ, piano +**Joseph Adam, organ +
PERSONNEL MANAGER
Scott Wilson
ASSISTANT PERSONNEL MANAGER
Keith Higgins
LIBRARY
Patricia Takahashi-BlayneyPrincipal Librarian
Robert OliviaAssociate Librarian
Jeanne CaseLibrarian
Rachel SwerdlowAssistant Librarian
TECHNICAL DIRECTORJoseph E. Cook
ARTIST IN ASSOCIATIONDale Chihuly
HONORARY MEMBERCyril M. Harris †
+ Resident
† In Memoriam
** On Leave
LUDOVIC MORLOT SEATTLE SYMPHONY MUSIC DIRECTOR
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French conductor Ludovic Morlot has been Music Director of the Seattle Symphony since 2011. Amongst the many highlights of his tenure, the orchestra has won two Grammy Awards and gave an exhilarating performance at Carnegie Hall in 2014.
During the 2016–2017 season Morlot and the Seattle Symphony will continue to invite their audiences to “listen boldly,” presenting Ravel’s L’enfant et les sortilèges, completing their
cycle of Beethoven symphonies and piano concertos and several world premieres including compositions by Agata Zubel and Gabriel Prokofiev. All of this will be complemented by the Seattle Symphony’s highly innovative series, Sonic Evolution and [untitled]. This season
will also see the release of several more recordings on the Orchestra’s label, Seattle Symphony Media. A box set of music by Dutilleux was recently released to mark the 100th anniversary of the composer’s birth.
Ludovic Morlot was Chief Conductor of La Monnaie for three years (2012–14). During this time he conducted several new productions including La Clemenza di Tito, Jenu°fa and Pelléas et Mélisande. Concert performances, both in Brussels and Aix-en-Provence, included repertoire by Beethoven, Stravinsky, Britten, Webern and Bruneau.
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.
6 SEATTLESYMPHONY.ORG
When Paul Rafanelli was growing up in Seattle, his father would play recordings of Italian operas and singers. “My dad’s father was Italian and his mother was first generation,” says Rafanelli. “They spoke some Italian amongst themselves, but not with me and not with the other grandkids.”
Today Rafanelli is reconnecting with his Italian heritage. “I actually started studying Italian while I was at the University of Washington,” says Rafanelli. “Growing up in an Italian family I thought I should learn it too.” He began playing with the Seattle Symphony in 1992. He says that he began seriously studying Italian again about five years ago, even moving to Verona, Italy for a month: “I lived with an Italian family who didn’t speak English, so that was a good way to learn. You need other people to practice speaking a language.”
He still listens to opera and classical singers, but “I’ve lately tried to get a broader perspective on music,” says Rafanelli. “I’m starting to explore classic jazz and pop music from the ‘60s. I love Dionne Warwick, that’s sort of a guilty pleasure, and I love Ella Fitzgerald, but I listen to classical singers because that’s how I want to sound when I play.”
For more on the Seattle Symphony, visit seattlesymphony.org/stories.
■ PAUL RAFANELLI Bassoon
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Was
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Tasti
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TOWNHALLSEATTLE.ORG
presents
Global RhythmsFebruary 10, 7:30PM
Anna & ElizabethRustic Appalachian-inspired ballads and hymns
with multimedia performance artist
Miwa MatreyakHaunting music, magical animation, shadow play
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DIRECTORS
Marco Abbruzzese
Rebecca Layman Amato
René Ancinas
Claire Angel
Sherry Benaroya
James Bianco
Rosanna Bowles
Renée Brisbois
Paul Brown
Susan Detweiler
Kathy Fahlman Dewalt
Larry Estrada
Nancy Evans
Jerald Farley
Judith Fong
Brian Grant
Martin L. Greene
Jeremy Griffin
Patty Hall
Terry Hecker
Jean-François Heitz*
Joaquin Hernandez
Parul Houlahan
Jeff Hussey
Walter Ingram
Susan Johannsen
Nader Kabbani
Elizabeth Ketcham
Ryo Kubota
Ned Laird*
Paul Leach*
Jeff Lehman
Dawn Lepore
Brian Marks*
Michael Mitrovich
Hisayo Nakajima
Cookie Neil
Nancy Neraas
Laurel Nesholm*
Sheila Noonan
Jay Picard*
Dana Reid
Elisabeth Beers Sandler
Bayan Towfiq
Nicole Vogel
Robert Wallace
DESIGNEES
Robin Denis President, Seattle Symphony Chorale
Ryan Douglas President, WolfGang Advisory Council
Carmen Spofford President, Seattle Symphony Volunteers
Valerie Muzzolini Gordon Orchestra Representative
Zartouhi Dombourian-Eby Orchestra Representative
Simon Woods President & CEO
LIFETIME DIRECTORS
Llewelyn Pritchard Chair
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
Cathi Hatch
Steven Hill
Ken Hollingsworth
Pat Holmes
David Hovind
Henry James
Hubert Locke
J. Pierre Loebel
Kenneth Martin
Yoshi Minegishi
Marilyn Morgan
Isa Nelson
Marlys Palumbo
Sally G. Phinny
James Raisbeck
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
Michael Slonski Treasurer
James Bianco
Brian Grant
Leslie Jackson Chihuly
J. Pierre Loebel
Laurel Nesholm
David Tan
Muriel Van Housen
Rick White
* Executive Committee Member+ In Memoriam
SEATTLE SYMPHONY BOARD OF DIRECTORS
LESLIE JACKSON CHIHULY, Chair*
Jon Rosen Secretary*
Michael Slonski Treasurer*
Kjristine Lund Vice Chair, Audiences & Communities*
Woody Hertzog Vice Chair, Development*
Dick Paul Vice Chair, Governance*
Stephen Whyte Vice Chair, Finance*
NED LAIRD, President Mark Reddington, Vice President
Nancy B. Evans, Secretary
Michael Slonski, Treasurer
Dwight Dively
Zartouhi Dombourian-Eby
Jim Duncan
Chris Martin
Tom Owens
Fred Podesta
Leo van Dorp
Simon Woods
BENAROYA HALL BOARD OF DIRECTORS
The Seattle Symphony partners with Mary’s Place, an organization that empowers homeless women, children and families to reclaim their lives. Mary’s Place provides respite, nutrition, safety and shelter in a setting where self-confidence is restored, hope is discovered and a new future begins. They currently operate six emergency night shelters for families and two day centers. This season community members from Mary’s Place are working with Seattle Symphony Teaching Artist Becky Aitken to reinterpret and reimagine one of the holidays represented in Charles Ives’ New England Holidays through the lens of their own experiences. The resulting visual narratives will be presented with poetry by Seattle’s civic poet Claudia Castro Luna during the Masterworks Season concerts on February 2 and 4, 2017. Mary’s Place is one of 16 partners in the Seattle Symphony’s Simple Gifts initiative which brings the healing power of music to those who previously or are currently experiencing homelessness.
■ SIMPLE GIFTS Mary’s Place
■ OUR MISSION THE SEATTLE SYMPHONY UNLEASHES THE POWER OF MUSIC, BRINGS PEOPLE TOGETHER, AND LIFTS THE HUMAN SPIRIT.
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8 SEATTLESYMPHONY.ORG
SEATTLE SYMPHONY | BENAROYA HALL ADMINISTRATIVE STAFF
SENIOR MANAGEMENT TEAM
Simon WoodsPresident & CEO Leslie Jackson Chihuly Chair
Charlie WadeSenior Vice President of Marketing & Business Operations
Jennifer AdairVice President & General Manager
Maureen Campbell MelvilleVice President & Chief Financial Officer
Rosalie ContrerasVice President of Communications
Elena DubinetsVice President of Artistic Planning
Jane HargraftVice President of Development
Kristen NyQuistDirector of Board Relations & Strategic Initiatives
Laura ReynoldsDirector of Education & Community Engagement
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
Blaine InafukuArtist Services, Media & Chorale Manager
ORCHESTRA & OPERATIONS
Kelly Woodhouse BostonDirector of Operations
Ana HinzProduction Manager
Scott WilsonPersonnel Manager
Keith HigginsAssistant Personnel Manager
Patricia Takahashi-BlayneyPrincipal Librarian
Robert OliviaAssociate Librarian
Jeanne CaseLibrarian
Joseph E. CookTechnical Director
Mark Anderson, Jeff LincolnAssistant Technical Directors
Chris Dinon, Don Irving, AaronGorseth, John Roberson, MichaelSchienbein, Ira SeigelStage Technicians
EDUCATION & COMMUNITY ENGAGEMENT
Kristin Schneider, Becky SpiewakEducation & Community Engagement Managers
Katie HovdeProgram Associate
Jessica Andrews-Hall, SamanthaBosch, Lena Console, Sonya Harris, Jesse Harvey, Rafael Howell, Zachary Kambour, Shelby Leyland, Leslie McMichael, Rebecca Morhlang, Dana StaikidesTeaching Artists
Lauren Eastman, Francis Ho, Brendan McCullenDiscovery Coordinators
COMMUNICATIONS
You You XiaPublic Relations Manager
Heidi StaubEditor & Publications Manager
James HoltDigital Content Manager
Andrew StiefelSocial Media & Content Manager
MARKETING
Christy WoodDirector of Marketing
Rachel SpainMarketing Manager
Kyle PainterMarketing Operations Coordinator
Barry LalondeDirector of Digital Products
Jason HuynhDigital Marketing Manager
Herb BurkeTessitura Manager
Gerry KunkelCorporate & Concierge Accounts Manager
Jessica ForsytheArt Director
Helen HodgesGraphic Designer
Forrest SchofieldGroup Services Manager
Joe BrockRetail Manager
Christina HajduSales Associate
Brent OlsenTicket Sales Manager
Aaron GundersonAssistant Sales Manager
Nina Cesarrato, Molly GilletteTicket Office Coordinators
Asma Ahmed, Mary Austin, Melissa Bryant, Yasmina Ellis, Carla Moar, Mike Obermeyer, James Bean, CaraBeth Wilson, Elizabeth YlayaTicket Services Associates
VENUE ADMINISTRATION
Matt LaughlinDirector of Facility Sales
James Frounfelter, Adam MoomeyEvent & Operations Managers
Sophia El-WakilFacilities Sales & Operations Coordinator
Keith GodfreyHouse Manager
Tanya WanchenaAssistant House Manager & Usher Scheduler
Milicent Savage, Patrick WeigelAssistant House Managers
Dawn Hathaway, Lynn Lambie, MelLongley, Ryan Marsh, Markus RookHead Ushers
Everett Bowling, Veronica Boyer, Evelyn GershenAssistant Head Ushers
Ron HyderTechnical Coordinator
DEVELOPMENT
Shaina ShepherdDevelopment Officer (Assistant to VP of Development & Grants)
Jennifer AlleyInterim Campaign Director
Betsy WohlersDevelopment Officer (Campaign)
Becky KowalsDirector of Major Gifts and Planned Giving
Nicholas Walls, Marsha WolfMajor Gift Officers
Amy BokanevGift Officer
Jessica LeeDevelopment Coordinator (Major Gifts)
Paul GjordingSenior Major Gift Officer (Foundations & Government Relations)
Megan HallAnnual Fund Senior Manager
Alicia ArchambaultStewardship Manager
Martin K. JohanssonDevelopment Communications Manager
Jacob RoyData Operations Manager
Maery SimmonsData Entry Coordinator
Tami HornerSenior Manager of Special Events & Corporate Development
Zoe FunaiSpecial Events Manager
Ryan HicksCorporate Development Manager
FINANCE & FACILITIES
David NevensController
Clem ZippAssistant Controller
Lance GlennInformation Systems Manager
Megan SpielbuschAccounting Manager
Jacqueline MoravecPayroll/AP Accountant
Marwa AliwiStaff Accountant
Bernel GoldbergGeneral Counsel
David LingFacilities Director
Kevin BakerFacilities Manager
Bob BrosinskiLead Building Engineer
Damien De WitteBuilding Engineer
Rodney KretzerFacilities & Security Coordinator
HUMAN RESOURCES
Kathryn OsburnHuman Resources Generalist
Karya Schanilec Receptionist/Marketing Assistant
CONTACT US
TICKETS: 206.215.4747 | DONATIONS: 206.215.4832 | ADMINISTRATIVE OFFICES: 206.215.4700
VISIT US ONLINE: seattlesymphony.org | FEEDBACK: [email protected]
AlanaJewelry.com 206.362.6227 Northgate Mall Seattle, WA
EAP 1_6 V template.indd 1 9/20/16 11:26 AMSEATTLECHAMBERMUSICSOCIETYJAMES EHNES Artistic Director
STARTING SOON!
BOX OFFICE206.283.8808 // seattlechambermusic.org
WINTER FESTIVALJANUARY 20-29, 2017
ILLSLEY BALL NORDSTROM RECITAL HALL at Benaroya Hall
Tickets on sale
now!
encoreartsseattle.com 9
NOTA BENEDATE CHANGE The Seattle Symphony’s ninth annual Celebrate Asia will be held at
Benaroya Hall on Friday, May 12, at 7pm instead of the previously scheduled date of
Sunday, March 26, at 4pm. Patrons who have already purchased tickets will receive new
tickets by mail. Please contact the Ticket Office at 206.215.4747 with any questions or to
purchase tickets to this memorable concert!
YOUR NATIONAL GEOGRAPHIC FIX We welcome back the National Geographic Live
series! This season features everything from mountain summits to subaquatic caves…
and even Mars! Check out the whole line-up at seattlesymphony.org. Sunday matinees
have best availability, so get your subscription now!
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Seattle Symphony Media has been
nominated in two categories for the
59th Grammy Awards — Best Surround
Sound Album and Best Engineered
Album, both for the third installment in
our all-Dutilleux series. This follows the
Grammy win last year for the second
volume of Dutilleux works on the Seattle
Symphony Media label.
“We’re absolutely thrilled,” said President
& CEO Simon Woods. “We have a lot of
things in our favor: a great orchestra, a
great hall and an absolutely world-class
engineer. Nobody makes an orchestra
sound better than Dmitriy Lipay.”
Seattle Symphony’s Director of Audio
& Recording Dmitriy Lipay has nearly
three decades of experience as an
audio engineer and recording producer.
Following a career with Russian National TV
& Radio in St. Petersburg, Russia, where he
produced TV and radio programs featuring
numerous classical luminaries, he was a
producer, engineer and editor with Sony
Classical in both St. Petersburg and New
York. His work has appeared on numerous
record labels including Cantaloupe Music,
Crystal Records, Harmonia Mundi, JVC
Classics, Naxos, Romeo Records and
Sony Classical. He has produced classical
music recordings and broadcasts for major
networks around the world, including the
BBC, FR3, NHK, NPR, PBS and Philips. In
2014, 2015 and 2016, he received four
Emmy Awards for his work on the All-Star
Orchestra televised series on PBS. In
2015 and 2016 he received four Grammy
nominations: Producer of the Year, Classical
(2015), and Best Engineered Album
category (two in 2015, one in 2016).
Pick up the individual CDs or a three-
disc commemorative box set of the
Dutilleux series at Symphonica, The
Symphony Store, at Benaroya Hall. Digital
downloads and CDs are available through
iTunes and Amazon.
Welcome to Benaroya Hall!
The New Year is for many of us a time for resolutions and new commitments. Here at the Symphony we re-commit again to another year of passionate investment in the twin poles of our work — adventurous programming and performances, and deep commitment to community engagement. We take very seriously our responsibilities as one
of Seattle’s most prominent performing arts organizations to take forward our art form in new ways, build new audiences and share the inspiration of great music as widely as possible.
I’m so proud that our label has been nominated for two Grammy Awards this year. Congratulations to Ludovic Morlot, the musicians, and especially father and son engineering duo, Dmitriy and Alexander Lipay, for their amazing work. Read more about our nominations and our world-class producer and engineer to the right.
In October Ludovic Morlot, Ives scholar Larry Starr, visual artist Becky Aitken, poet Claudia Castro Luna and 24 participants from Compass Housing Alliance, Mary’s Place and Catholic Housing Services met for the first time to begin creating original poetry and artwork in response to Charles Ives’ New England Holidays. You will see and hear their work during the February 2 and 4 Masterworks performances of this piece. This project is a part of our Simple Gifts initiative, which brings the healing power of music to those who previously or are currently experiencing homelessness, with the hope of sparking conversation, inspiring reflection and amplifying the voice of the participants, all while building deeper connections with the wider Symphony audience. I invite you to come back in February to be a part of this exciting experience.
Thank you for joining us today and I hope you enjoy the music!
Simon WoodsPresident & CEO
NEWS FROM: SIMON WOODS, PRESIDENT & CEO
Phot
o: B
rand
on P
atoc
■ GRAMMY WATCH
Dmitriy Lipay, cellist David Sabee, Board Chair Leslie Jackson Chihuly and Simon Woods at the 2016 Grammy Awards.
10 SEATTLESYMPHONY.ORG
““
—
April 7, Fri 7:30pmApril 8, Sat 2:00pm & 7:30pmApril 9, Sun 1:00pm
APR 7 -9, 2017Marion Oliver McCaw Hall321 Mercer St, Seattle, WA 98109
Tickets: 800.880.0188ShenYun.com/seattleApril 9, 1:00pm
Prices: $70 - $180
EAP full-page template.indd 1 11/16/16 3:52 PM
Crowds gathered outside the
Waldorf-Astoria Hotel in New
York. Demonstrators marched
in the streets. Placards reading
“Shostakovich! Jump thru the
window!” bobbed in the
picket lines.
Dmitri Shostakovich stayed in bed.
The Cultural and Scientific Conference for
World Peace, held in New York City in 1949,
was one of the first great propaganda
battles fought between the United States
and the Soviet Union at the start of the
Cold War. Shostakovich’s Fifth and Seventh
Symphonies were widely popular in the
United States during World War II, and,
during his visit to New York, the press
feverishly covered his appearances.
On the final night of the conference,
Shostakovich played a piano arrangement
from his Fifth Symphony for an audience of
18,000 in Madison Square Garden.
After the iron curtain began to fall, U.S.
audiences wanted to claim the Soviet
composer as a kindred spirit, a martyr for
freedom of expression. Over the years,
that mythology has taken root and grown
around Shostakovich, threatening to bury
his music behind the two-dimensional
caricature of a political dissident. Although
debate will continue for years over his life
and music, we know that Shostakovich
was skilled at courting and wielding
political power. He was an outwardly
loyal supporter of the party, who, at times,
BREAKING THE FRAMECan Shostakovich escape our demands for a political martyr?BY ANDREW STIEFEL
12 SEATTLESYMPHONY.ORG
BREAKING THE FRAMECan Shostakovich escape our demands for a political martyr?BY ANDREW STIEFEL
despaired about his role in promoting
a regime that punished his colleagues
while rewarding him with fame and
influence.
Before he arrived in New York in 1949,
Shostakovich answered his phone one
day and was told to hold: Comrade
Stalin wanted to speak to him. Stalin
expressed surprise that the composer
had declined an invitation to attend the
peace conference in New York. Was he
feeling unwell? Shostakovich replied that
he was, in fact, feeling nauseated: the
music of his fellow composers, Sergey
Prokofiev and Aram Khatchaturian,
had not been played in the Soviet
Union in over a year. Many of his own
compositions were banned. Silence.
Finally Stalin spoke, promising that he
would correct those “illegal” orders.
Shostakovich went to New York.
After returning from the conference,
Shostakovich repaid Stalin with several
works, including an oratorio, The Song
of the Forests, and the film score to The
Fall of Berlin. In return, his music was
performed throughout the USSR and
he received privileges reserved for the
party elite: political power as the head
of the Russian Federation’s Union of
Composers and private residences in the
countryside where he spent summers
composing.
Calling Shostakovich, or any Soviet
composer, a political dissident is
problematic for many reasons. When the
state owns everything — from apartments
to concert halls and violins to orchestras
Before he arrived in New York in 1949, Shostakovich answered his phone one
day and was told to hold: Comrade Stalin wanted to speak to him.
— music doesn’t exist outside the
government. It doesn’t exist at all. Instead
composers, like artists everywhere, learn
a delicate social dance to promote and
secure support for their work.
We live out our lives in front of a tapestry
of political and world events, our own
memories more vivid and poignant than
something happening a world away.
Artists are no different. Shostakovich’s
concertos, written for close friends and
family members, span his career and
provide glimpses into the development of
one of the 20th century’s most influential
composers. From his piano concertos,
written first for himself and then for his
son; to his violin and cello concertos,
dedicated to his closest friends; we can
experience the wit, the irony, the hope,
the despair and even the joy that fills
his music. We meet Shostakovich on his
terms.
Ultimately, Shostakovich’s contradictions
— loyal party supporter and artist
conflicted by private doubts — are what
make his music so powerful. When
we force an artist into a frame that fits
our desire for ideological purity, the
contradiction of their art is lost, filled
instead with our own implicit biases.
Without the imperfections, we are left
with only the propaganda. Imperfections
create space for our own emotions,
thoughts and experiences to enter the
music.
Get your tickets to the Shostakovich
Concerto Festival on January 19 and 20,
and see more about the programs on
pages 30 to 35.
Arts LeadershipPrograms
Upcoming Events[RE]CONNECT:
Seattle Arts Leadership Conference
Saturday, January 28
MFA Program Info Sessions:(all 6:30-8pm)
Thursday, January 12Monday, February 6Thursday, March 2
Visit our website for details:www.seattleu.edu/artsci/mfa
Day Job
Make Artyour
ARTL_EncoreAdrev3.indd 1 10/25/16 3:24 PM
The Bellevue-born star returns home this January to perform
at Benaroya Hall. “It’s always an honor to be able to perform
in my hometown, but it’s an even greater privilege to get to sing
with the incredible musicians of the Seattle Symphony,” says Hilty.
“I also get to perform with my friend, the great maestro Steven
Reineke, so this will undoubtedly be a weekend I’ll never forget!”
Hilty, who rose to fame as Glinda the Good Witch in the Broadway
hit Wicked, later starred in the musical-drama series Smash on
NBC. These days she splits her time between Los Angeles and
New York, acting and singing. So how did she get her start?
“My first voice teacher, Merry Kimball, was the one who steered
me in the classical direction and developed my love and
appreciation for opera,” says Hilty. “But I honestly don’t remember
ever thinking that I would do anything other than pursue a career
in the arts. It wasn’t ever a question of if I would do it, but how I
would make it happen.”
She attended Sammamish High School before transferring to the
Washington Academy of Performing Arts in Redmond. “My love for
musical theater was fostered by the Bellevue Youth Theatre,” says
Hilty. “I spent most of my summers there growing up.” After high
school, she attended Carnegie Mellon University. She auditioned
for Wicked during her senior year and moved to New York after
graduation to make her Broadway debut. Hilty says her advice to
young musicians is to “do everything you can — onstage and off
— and be nice to everyone!”
Since her Broadway debut, Hilty has appeared on Bravo, CBS,
NBC and has recorded voice parts for Disney. This May she
released a live album of songs from her recent concert tour,
entitled Megan Hilty Live at the Café Carlyle. Her next great
adventure? “I just bought my first house in Los Angeles and we
are expecting our second child in March,” says Hilty. She plans to
spend time at home with her husband, actor Brian Gallagher, and
their daughter, Viola, before diving back into her music and acting.
Fittingly, her last performance before taking a break will be in
her hometown. This January she performs music made popular
by Sinatra and others including “The Best is Yet to Come,” “New
York, New York,” “Autumn Leaves,” “Mack the Knife” and many
more. “I hope audiences take pride in knowing that their city is
one that supports the arts in a way that profoundly impacts its
youth,” says Hilty. “That support can inspire careers that lead to
Broadway and beyond.”
Stop by the Ticket Concierge in the Grand Lobby (available for
most performances) before your concert or during intermission to
get tickets to Luck Be a Lady: Megan Hilty Sings Sinatra & More
on January 13, 14 and 15. You can also purchase tickets on our
Listen Boldly app, online, in-person at the Ticket Office or by
calling 206.215.4747.
IF LUCK BE A LADY Her name might be Megan HiltyBY ANDREW STIEFEL
... her advice to young musicians is to
“do everything you can — onstage
and off — and be nice to everyone!”
14 SEATTLESYMPHONY.ORG
IF LUCK BE A LADY Her name might be Megan HiltyBY ANDREW STIEFEL
When Only The Best Will Do
Dac 080715 emerald fp.indd 1 8/7/15 4:36 PM
206.215.4747 | SEATTLESYMPHONY.ORG
FOR TICKETS:
LISTEN BOLDLY2016/17SEASON
FEBRUARY 2 & 4
EMANUEL AX BEETHOVEN EMPEROR
Ludovic Morlot, conductorEmanuel Ax, piano
IVES: New England Holidays: Washington’s Birthday Decoration Day The Fourth of July Thanksgiving and Forefathers’ DayBEETHOVEN: Piano Concerto No. 5, “Emperor”
From Ives and his celebration of Washington’s Birthday and the Fourth of July to Beethoven and the epic “Emperor” Concerto, this is one explosive collision of two powerhouse composers. Superstar Emanuel Ax unfurls Beethoven’s Fifth Piano Concerto in all its glory.
Media Sponsor:
EMANUELAX
JOSHUABELL
LUDOVIC MORLOT, MUSIC DIRECTOR
FEBRUARY 9, 11 & 12
HILARY HAHN BRUCH VIOLIN CONCERTO NO. 1
Ludovic Morlot, conductorHilary Hahn, violin
DEBUSSY: Prélude à l’après-midi d’un fauneBRUCH: Violin Concerto No. 1PROKOFIEV: Symphony No. 5
Relish the freedom and courage of Prokofiev’s wartime Fifth Symphony, which dared to be honest and even humorous during a perilous time. Bruch’s popular and technically difficult Violin Concerto No. 1 is in good hands with violinist Hilary Hahn.
Hilary Hahn’s 2016–2017 residency is generously
supported by the Judith Fong Music Director’s Fund.
Media Sponsor:
FEBRUARY 17 & 18
JOSHUA BELL TCHAIKOVSKY VIOLIN CONCERTO
Ludovic Morlot, conductorJoshua Bell, violin
SMETANA: Dance of the Comedians from The Bartered BrideTCHAIKOVSKY: Violin ConcertoDVOŘÁK: Symphony No. 8
Beloved violinist Joshua Bell shines on Tchaikovsky’s heroic Violin Concerto. Dvořák’s uplifting Eighth Symphony evokes the simple, peaceful atmosphere of his Bohemian homeland.
Media Sponsor:
Friday performance sponsored by
HILARYHAHN
January 2017Volume 30, No. 5
Paul Heppner Publisher
Susan Peterson Design & Production Director
Ana Alvira, Robin Kessler, Shaun Swick, Stevie VanBronkhorst Production Artists and Graphic Design
Mike Hathaway Sales Director
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Sara Keats Jonathan Shipley Online Editors
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Paul Heppner Publisher
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Corporate Office425 North 85th Street Seattle, WA 98103p 206.443.0445 f [email protected] x105 www.encoremediagroup.com
Encore Arts Programs is published monthly by Encore Media Group to serve musical and theatrical events in the Puget Sound and San Franc isco Bay Areas. All rights reserved. ©2017 Encore Media Group. Reproduction without written permission is prohibited.
16 SEATTLESYMPHONY.ORG
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 ©2017 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.
Thursday, January 5, 2017, at 7:30pm
Saturday, January 7, 2017, at 8pm
Sunday, January 8, 2017, at 2pm
BEETHOVEN SYMPHONY NO. 9
Ludovic Morlot, conductor | Mary Elizabeth Williams, soprano |
Rinat Shaham, mezzo-soprano | Kenneth Tarver, tenor | Jonathan Lemalu, bass |
Cynthia Millar, ondes Martenot | Michael Brown, piano | Northwest Boychoir |
Seattle Symphony Chorale | Seattle Symphony
OLIVIER MESSIAEN Trois petites liturgies de la Présence Divine 33’
(“Three Small Liturgies of the Divine Presence”)
Antienne de la conversation intérieure
(“Anthem of the Inward Conversation”)
Séquence du Verbe, cantique divin
(“Sequence of the Word, Divine Canticle”)
Psalmodie de l’ubiquité par amour
(“Psalmody of the Ubiquity of Love”)
MICHAEL BROWN, PIANO
CYNTHIA MILLAR, ONDES MARTENOT
NORTHWEST BOYCHOIR
INTERMISSION
LUDWIG VAN Symphony No. 9 in D minor, Op. 125, “Choral” 65’
BEETHOVEN Allegro ma non troppo, un poco maestoso
Molto vivace
Adagio molto e cantabile—Andante moderato
Presto—Allegro assai—Allegro assai vivace
MARY ELIZABETH WILLIAMS, SOPRANO
RINAT SHAHAM, MEZZO-SOPRANO
KENNETH TARVER, TENOR
JONATHAN LEMALU, BASS
SEATTLE SYMPHONY CHORALE
Pre-concert Talk one hour prior to each performance. Speaker: Dr. Giselle Wyers, Donald E. Petersen Associate Professor of Choral Music at the University of Washington
Ask the Artist on Saturday, January 7, in the Samuel & Althea Stroum Grand Lobby following the concert.Guests: Ludovic Morlot, Mary Elizabeth Williams, Kenneth Tarver, Cynthia Millar Moderator: Simon Woods
Support for Messiaen’s Trois petites liturgies de la Présence Divine is generously provided by the Judith Fong Music Director’s Fund. Audience Development supported by The Wallace Foundation. Media Sponsor: Classical KING FM 98.1
PROGRAM NOTES
A MESSAGE FROM MUSIC DIRECTOR LUDOVIC MORLOT
Trois petites liturgies de la Présence Divine
was written after Messiaen’s release from
prison during World War II. The composer’s
Catholic faith was strong, and these
liturgies are a celebration of God. Messiaen
wrote a part for women’s chorus, which I
have assigned to the boy sopranos of the
wonderful Northwest Boychoir, as I read the
composer wanted to capture pure angelic
voices. This work also incorporates an
electronic instrument, the ondes Martenot.
We’re fortunate to have one of the leading
experts in the ondes Martenot, Cynthia
Millar, joining us for these concerts.
Almost 200 years after it premiered,
Beethoven’s Symphony No. 9 is still an
incredibly challenging and monumental
work, and one which opened a window
to what the symphony would eventually
become under Mahler’s writing. In light
of our two-year cycle of Beethoven’s
symphonies and piano concertos, I felt
that it was very important to present
Beethoven’s Ninth in the context of our
subscription series concerts, rather than
as a holiday concert as has been done in
recent years. I am very excited to welcome
our outstanding guest vocalists Mary
Elizabeth Williams, Rinat Shaham, Kenneth
Tarver and Jonathan Lemalu — this is just
about as good as it gets!
See Ludovic Morlot’s biography on page 6.
Spirit SongsThe beginning of each new year is
traditionally a time of renewal and
rededication, for turning from the
pleasant hedonism of the recent holiday
season toward thoughts and activities
we often think of as having a higher
purpose. It seems right, then, that the
first Seattle Symphony concerts of 2017
present music that explicitly seeks the
higher ground of spiritual expression.
Music and spirituality have been closely
linked throughout the ages in the
minds of poets, theologians, listeners
and especially musicians themselves.
No less an authority than Ludwig van
Beethoven implicitly confirmed the
connection when he called music “the
mediator between the spiritual and
encoreartsseattle.com 17
PROGRAM NOTES
the sensual life.” The great Indian sitar
player Ravi Shankar was more direct,
declaring: “The highest form in music is
spirituality.”
The use of music in religious rituals in
most cultures gives further evidence
of the link between sound and
spirit. But what of concert music, of
compositions intended not for temple
or church but for the secular setting of
an auditorium such as Benaroya Hall?
One can argue that all music is, in some
way, essentially spiritual. Yet certain
orchestral compositions declare their
spiritual intent or inspiration more
openly.
We hear two such works. Olivier
Messiaen’s Trois petites liturgies de la Présence Divine gives voice to
its author’s unusual religious faith,
one rooted in Catholicism but which
embraced with particular intensity what
the composer termed “the stupendous,
the miraculous, the transcendent.”
Beethoven’s magisterial Ninth
Symphony moves beyond religion and
gives us a hymn to the ideal of human
brotherhood. In all of music, there is
no purer expression of the spirit of
humanism.
OLIVIER MESSIAEN
Trois petites liturgies de la Présence Divine (“Three Small Liturgies of the Divine Presence”)
BORN: December 10, 1908, in Avignon
DIED: April 27, 1992, in Clichy, near Paris
WORK COMPOSED: 1944
WORLD PREMIERE: April 21, 1945, in Paris.
Roger Desormière conducted the orchestra of
the Concert de la Pléiade.
More than any other major composer of
the 20th century, Olivier Messiaen stood
outside the main currents that shaped
music during his time. Embracing none of
the modernist styles or movements when
they were in vogue, Messiaen followed
his own sensibilities throughout his career,
creating a startlingly original body of music
forged from birdsong, synthetic scales of
his own invention, rhythms derived from an
ancient Hindu treatise, numerical symbols,
and a strongly felt affinity between sound
and color. He found inspiration in the
cosmos, in the most vast and violent
manifestations of nature, and in the
contemplation of myth, numerology and
ancient civilizations.
Above all, Messiaen’s work served to
express his very personal brand of
Roman Catholicism. His religious belief
was unusual in its literal acceptance of
the miracles and revelations set forth
in the scriptures. “The truths of the faith
are startling,” the composer observed,
referring to the highly charged imagery
of the scriptural passages and mystical
poetry to which he was drawn. And this
imagery drew from him a lush, colorful and
strangely ecstatic body of music, music
quite unlike the decorous settings of
the mass and other liturgical texts by
Stravinsky, Poulenc and other leading
20th-century composers.
Composed in 1944, after his release from a
German prison camp, Trois petites liturgies
de la Présence Divine was Messiaen’s first
important work using voices and orchestra.
It is characteristic of the composer’s very
poetic religious outlook that this is not at all
a liturgical work, its title notwithstanding. (In
fact, Messiaen never composed a setting
of the mass or any canonical ecclesiastic
verses.) Rather, it uses as its text three
religious poems written by Messiaen
himself. The words are set forth by a choir
of boy’s voices, which the composer uses
unconventionally. Accompanying them
is an unusual ensemble of percussion,
piano (in a featured role), string orchestra
and ondes Martenot, an early electronic
instrument that produces a strong but
ethereal sound, like the singing of some
extra-terrestrial voice.
The composition offers up an array of
striking and extremely unusual sonorities.
The piano joins with celesta and
vibraphone in an ensemble Messiaen
compared to a Balinese gamelan. The
vocal writing ranges from chant to
languorous song to rhythmic shouting.
Strings and ondes Martenot join in lushly
scored passages. The composer’s
idiosyncratic instrumental and vocal
sonorities complement his very personal
handling of rhythm and his use of both
familiar harmonies and new chords and
scales. The music tends to extremes
of either cataclysmic activity or tender
quietude.
WHAT TO LISTEN FOR: Messiaen called the
first movement an “interior conversation”
and explained that it is meant to evoke “the
God that is present in us.” The opening and
close of this movement juxtapose serene
melodic lines with birdsongs transmitted
primarily by the piano. A contrasting
central passage brings a faster pace and
greater rhythmic complexity in both the
vocal and instrumental parts. A single
violin and, later, ondes Martenot, play lines
intimating ecstatic dance, while piano,
percussion and the string ensemble each
contribute vigorous figures of their own.
All these combine with the vocal line to
create an exhilarating polyphony of diverse
elements.
The same notion animates the second
movement. But in contrast to the
dizzying welter of musical detail this
movement presents, its formal structure
is a simple rondo design: a brief melodic
idea alternating with episodes of more
variegated music. The end conveys
religious rapture through sheer sonority,
bright and overwhelming.
The final “liturgy,” like the first, unfolds in
a broad A–B–A pattern, but with tempos
and characters reversed: here the outer
panels are fast and rhythmic, while the
central episode brings slow, sustained
music and celestial sonorities. The reprise
of the initial section culminates in another
of Messiaen’s shattering climaxes, but the
composer appends a coda passage that
brings the work to a tranquil close.
Scored for solo piano, ondes Martenot,
boychoir, percussion, celeste and strings.
LUDWIG VAN BEETHOVEN
Symphony No. 9 in D minor, Op. 125, “Choral”
BORN: December 16, 1770, in Bonn
DIED: March 26, 1827, in Vienna
WORK COMPOSED: 1822–24
WORLD PREMIERE: May 7, 1824, in Vienna.
The composer, who was by this time almost
completely deaf, was nominally the conductor,
although he contributed little more than to
indicate tempo at the start of each movement;
the performers then followed Michael Umlauf,
music director of the Austrian imperial theater.
18 SEATTLESYMPHONY.ORG
Between 1800 and 1812, Beethoven
transformed the symphony as no other
composer had or has done. His first two
works of this kind, written in 1800 and
1802, summarized the Classical-period
symphony, which had been his inheritance
from Mozart and Haydn, the great
symphonists of the late 18th century. With
his Third Symphony, the epochal Sinfonia
eroica of 1804, Beethoven expanded both
the musical and emotional scope of the
genre, imparting to it the heroic spirit which
would become a hallmark of 19th-century
Romanticism.
The works that followed proved
Beethoven’s symphonic style capable of
expression that ranged from desperate
struggle to the purifying beauty he
found in nature. Equally important, they
revealed that imposing command of form
and development which places these
compositions among the great intellectual
achievements of Western culture.
Then, beginning in 1813, no symphony
came from Beethoven’s pen for more
than a decade. Much of this period saw
a marked decrease in the composer’s
output and his progressive withdrawal
from most social contact. He was, during
this time, embroiled in emotional and
legal turmoil engendered by the custody
of his troubled nephew. Moreover, he
was now almost completely deaf and
struggling to accept the impossibility of
intimate companionship, something he had
long hoped for but which finally seemed
unattainable in view of his failed hearing
and single-minded devotion to music.
These difficult personal circumstances
might alone have explained the relative
silence of the recently so prolific composer.
But the work of Beethoven’s final years
suggests that he was passing through a
creative crisis as well; for when the flow of
compositions at last resumed, the music
was distinct from anything their author had
done before.
In his late compositions, Beethoven seems
to be reaching in opposite directions at
once. His tone is more intimate, more
personal, yet the scale on which his ideas
take form has once again expanded.
There is a greater feeling of maturity and
a sense of profound spirituality in his
musical utterances, but his melodies often
have the simplicity of folk tunes. And while
boldly formulating new concepts of musical
design and harmonic language, he takes
pains to incorporate such anachronisms as
fugal textures in his compositions.
Nowhere are the contradictions that
informed Beethoven’s late music more
evident than in his Ninth Symphony,
completed in 1824. And nowhere, in either
his own earlier symphonies or those of
other composers, are there precedents for
the grandeur and almost terrifying fervor of
this work, or for the remarkable conception
of the symphony’s choral finale.
But while the Ninth Symphony seems in
many ways sui generis, it also represents
an extension and culmination of various
artistic concerns that had preoccupied
Beethoven throughout his career. The
triumph of the spirit, the psychological
progression from pathos to joy that had
been the theme of the Third and Fifth
symphonies, the opera Fidelio, and the
Egmont Overture, found its greatest
expression in Beethoven’s final symphonic
essay. In each of the aforementioned
works, the victory of love, heroism or both
is celebrated in strong, simple melodies
and harmonies, and Beethoven extends
that rhetorical device magnificently in the
Ninth Symphony’s closing movement.
Even the use of Friedrich Schiller’s ode
An die Freude, the “Ode to Joy,” as the
basis of the finale stems from Beethoven’s
youth. As a young man he had sketched
a setting of these verses, and the idea
of completing it never left him. Thus, the
Ninth Symphony was as much fulfillment
as breakthrough, a work that crowned
Beethoven’s efforts to articulate in music
the 19th century’s great humanist vision,
even while it opened new vistas in the field
of symphonic composition.
WHAT TO LISTEN FOR: If the finale is the
triumphant goal of the Ninth Symphony,
the significance of this movement, its
cathartic power and seeming necessity,
stem from the sense of conflict presented
at the outset of the composition. The initial
movement seems a work of elemental
force, and it grows out of the most
elemental musical materials. Its initial
moments suggest a shapeless, formless
primordial void: static harmonies from
which fragments of melody tentatively
emerge, the music slowly gathering
momentum until it erupts to launch what
is still the most compelling drama in the
symphonic literature.
The second movement presents a robust
scherzo, one in which Beethoven offers
a remarkable display of compositional
skill. Successive statements of its principal
motif, punctuated by startling exclamations
from the timpani, are woven into intricate
contrapuntal passages suggesting a great
cosmic dance.
In contrast to the vigor of this second
movement, the third gives us music of
heavenly sweetness, a sense of deep
and serene spirituality. The tranquility of
this Adagio might lead us to believe that
the turmoil of the opening movement has
been resolved. But as the finale begins,
we find that a sense of agitation, conveyed
by a harsh fanfare, still lingers over the
symphony.
The disturbing fanfare is answered at
once by a more tempered statement from
the deep orchestral voices of the cellos
and basses. A second outburst is similarly
answered. Beethoven now recounts
the progress of the symphony thus far,
presenting fragments of music from the
three preceding movements in turn. Like
the fanfares, each of these recollections
is interrupted by the low strings. Their
declamatory statements seem more like
speech than music, as if the notes are
groping for words.
At last, a bit of melody emerges, growing
more confident as it is taken up by
additional instruments. This is the famous
principal theme of the movement, and
with its bright announcement by the full
orchestra, the symphony seems assured
of a joyous conclusion. But victory is not
so easily won. Again the dissonant fanfare
sounds, casting the work once more into
shadow.
And then, something quite extraordinary
occurs. The declamatory music presented
earlier by the cellos and basses again rises
up in protest, but now it has a new voice,
a human one, and has found the words for
which it has been searching: “O friends, not
these sounds, but let us raise our voices
in joyful song!” The lines are Beethoven’s,
and as if in obedience to his call, the
symphony bursts into song. The remainder
continued on page 24
encoreartsseattle.com 19
Antienne de la conversation intérieure Mon Jésus, mon silence, restez en moi.Mon Jésus, mon royaume de silence, parlez en moi.Mon Jésus, nuit d’arc-en-ciel et de silence,priez en moi.Soleil de sang, d’oiseaux, mon arc-en-ciel d’amour, désert d’amour.Chantez, lancez l’auréole d’amour, mon Amour, mon Dieu.
Ce oui qui chante comme un écho de lumière, mélodie rouge et mauve en louange du Père, d’un baiser votre main dépasse le tableau,paysage divin, renverse-toi dans l’eau. Louange de la Gloire à mes ailes de terre,mon Dimanche, ma Paix, mon Toujours de lumière. Que le ciel parle en moi, rire, ange nouveau,ne me réveillez pas: c’est le temps de l’oiseau!
[Mon Jésus, mon silence, restez en moi...]
Séquence du Verbe, cantique divin Il est parti le Bien-Aimé, c’est pour nous!Il est monté le Bien-Aimé, c’est pour nous!Il a prié le Bien-Aimé, c’est pour nous!Il a parlé, Il a chanté, le Verbe était en Dieu! Il a parlé, Il a chanté, et le Verbe était en Dieu!Louange du Père, substance du Père,empreinte et rejaillissement toujours, dans l’Amour, Verbe d’Amour!
Par lui le Père dit: c’est moi, parole de mon sein!Par lui le Père dit: c’est moi, le Verbe est dans mon sein! Le Verbe est la louange, modèle en bleu pour anges,trompette bleue qui prolonge le jour, par Amour, chant de l’Amour!
Il était riche et bienheureux, Il a donné Son ciel!Il était riche et bienheureux, pour compléter Son ciel! Le Fils c’est la présence, l’Esprit, c’est la présence!Les adoptés dans la grâce toujours, pour l’Amour, enfants d’Amour!
Il est vivant, Il est présent, et Lui se dit en Lui!Il est vivant, Il est présent, et Lui se voit en Lui! Présent au sang d l’âme, étoile aspirant l’âme,présent partout, miroir ailé des jours, par Amour, le Dieu d’Amour!
[Il est parti le Bien-Aimé, c’est pour nous!...]
Psalmodie de l’ubiquité par amour Tout en entier en tous lieux, tour entier en chaque lieu, donnant, l’être à chaque lieu, a tout ce qui occupe un lieu,le successif vous est simultané,dans ces espaces et ces temps que vous avez créés, satellites de votre Douceur.
Anthem of the Inward ConversationMy Jesus, my silence, remain in me.My Jesus, my kingdom of silence, speak in meMy Jesus, night of rainbow and silence,pray in me.Sun of blood, of birds, my rainbow of love, wilderness of love.Sing, cast love’s halo, my Love, my God.
This “yes” that sings like an echo of light,a red and mauve melody in praise of the Father, by a kiss’s breadth your hand overreaches the painting,Heavenly landscape, spill your refelction into the water. Praise of Glory to my wings of earth,my Sunday, my Peace, my Everlasting light. May heaven speak within me, smile, new angel,do not wake me: it’s the time of the bird!
[My Jesus, my silence, remain in me...]
Sequence of the Word, Divine Canticle The Beloved has gone, it is for us!The Beloved has ascended, it is for us!The Beloved has prayed, it is for us!He has spoken, he has sung, the Word was in God!He has spoken, he has sung, and the Word was God!Praise of the Father, substance of the Father, imprint and emanate always, in Love, Word of Love!
Through the Word the Father said: it is I, Word of my breast!Through Him, the Father said: it is I, the Word is in my breast!The Word is praise,a blueprint for angels,a blue trumpet that prolongs the day, through Love, song of Love!
He was rich and happy, He gave His heaven! He was rich and happy, to complete His heaven! The Son is the presence, the Spirit is the presence!Those who have received grace always, for Love, children of Love!
He lives, He is present, and He has spoken in Him!He lives, He is present,and He can be seen in Him! Present in the blood of the soul, soul-breathing star,everywhere present, winged mirror of days, through Love, the God of Love!
[The Beloved has gone, it is for us!...]
Psalmody of the Ubiquity of Love Whole in all places, whole in each place,bestowing being upon each place, on all that occupies a place,the successive you is omnipresent,in these spaces and times that you created, these satellites of your Gentleness.
OLIVIER MESSIAEN
Trois petites liturgies de la Présence Divine (“Three Small Liturgies of the Divine Presence”)
TEXT & TRANSLATION
20 SEATTLESYMPHONY.ORG
Posez-vous comme un sceau sur mon coeur. Temps de l’homme et de la planète,temps de la montagne et de l’insecte, bouquet de rire pour le merle et l’alouette, éventail de lune au fuchsia,a la balsamine, au bégonia;de la profondeur une ride surgitla montagne sauté comme une brebis et devient un gran océan.Présent, vous êtes présent. Imprimez votre nom dans mon sang.
Dans le mouvement d’Arcturus, présent, dans l’arc-en-ciel d’une aile après l’autre (Écharpe aveugle autour de Saturne),dans la race cachée de mes cellules, présent, dans le sang qui répare ses rives,dans vos Saints par la grâce, present, (Interprétations de votre Verbe,pierres précieuses au mur de la Fraîcheur). Posez-vous comme un sceau sur mon coeur.
Un coeur pur est votre repos, lis en arc-en-ciel du troupeau,vous vous cachez sous votre Hostie, frère silencieux dans la Fleur-Eucharistie,pour que je demeure en vous comme une aile dans le soleil,vers la résurrection du dernier jour.Il est plus fort que la mort, votre Amour. Mettez votre caresse tout autour.
Violet-jaune, vision, Voile-blanc, subtilité, orangé-bleu, force et joie, flèche-azur, agilité,donnez-moi le rouge et le vert de votre amour, feuille-flamme-or, claret.Plus de langage, plus de mots, plus de prophètes ni de science(c’est l’Amen de l’espèrance, Silence mélodieux de l’Éternité).
Mais la robe lavée dans le sang de l’Agneau,mais la pierre de neige avec un nom nouveau, les éventails, la cloche et l’ordre des clartés, et l’échelle en arcs-en-ciel de la Vérité,mais la porte qui parle et le soleil qui s’ouvre, l’auréole tête de rechange qui délivre,et l’encre d’or ineffaçable sur le livre; mais le face-à-face et l’Amour.
Vous qui parlez en nous, vous qui vous taisez en nous,et gardez le silence dans votre Amour. Vous êtes près, vous êtes loin,vous êtes la lumière et les ténèbres, vous êtes si compliqué si simple, vous êtes infiniment simple.
L’arc-en-ciel de l’Amour, c’est vous,l’unique oiseau de l’Éternité, c’est vous!Elles s’alignment lentement, les cloches de la profondeur.Posez-vous comme un sceau sur mon coeur.
[Tout entier en tous lieux, tout entier en chaque lieu...]
Vous qui parlez en nous, vous qui vous taisez en nous,et gardez le silence dans votre Amour, enfoncez votre image dans la dureé de mes jours.
Place yourself like a seal on my heart. Time of man and of the planet,time of the mountain and of the insect, garland of laughter for the blackbird and lark, wedge of moon to the fuchsia,to the balsam and begonia;from the depths a ripple rises, the mountain leaps like an ewe and becomes a great ocean.Present, you are present. Imprint your name in my blood.
Present in the movement of Arcturus,in the rainbow, with one wing after another (Blind ring around Saturn),present in the hidden race of my cells, in the blood that repairs its banks, present, through Grace, in your Saints. (Interpretations of your Word,precious stones in the wall of Freshness). Place yourself like a seal on my heart.
A pure heart is your repose, rainbow-colored lily of the flock, you hide beneath your Host,silent brother in the Eucharist-flowers,so I may dwell within you like a wing in the sun,awaiting the resurrection of the final day. Your Love is stronger than death. Enfold us all within your embrace.
Violet-yellow, vision, white-out, subtlety, orange-blue, strength and joy, azure spire, agility,give me the red and green of your love, gold-burning leaf, clarity.No more language, no more words, no more prophets nor science,(It is the Amen of hope,the melodious silence of Eternity).
What of the robe washed in the Blood of the Lamb,what of the stone of snow with a new name, the fans, the bells and the order of light, and the rainbow-ladder of Truth,what of the gate that speaks and the sun that opens, the halo and change of head that redeems us, and the golden ink, indelible on the book;but to see you face-to-face and Love.
You speak in us, you who keep silent in us,and maintain your silence in your Love. You are close, you are distant,you are the light and the darkness, you are so complex and so simple, you are infinitely simple.
You are rainbow of Love, You are the unique bird of Eternity!Slowly they fall into line, the bells of profundity.Place yourself like a seal on my heart.
[Whole in all places, whole in each place...]
You who speak in us, you who say nothing in us,and maintain your silence in your Love, implant your image throughout the length of my days.
encoreartsseattle.com 21
O Freunde, nicht diese Töne!
Sondern lasst uns angenehmere
anstimmen, und freudenvollere!
Freude, schöner Götterfunken,
Tochter aus Elysium
Wir betreten feuertrunken,
Himmlische, dein Heiligtum!
Deine Zauber binden wieder,
Was die Mode streng geteilt;
Alle Menschen werden Brüder,
Wo dein sanfter Flügel weilt.
Wem der grosse Wurf gelungen,
Eines Freundes Freund zu sein,
Wer ein holdes Weib errungen,
Mische seinen Jubel ein!
Ja, wer auch nur eine Seele
Sein nennt auf dem Erdenrund!
Und wers nie gekonnt, der stehle
Weinend sich aus diesem Bund!
Freude trinken alle Wesen
An den Brüsten der Natur;
Alle Guten, alle Bösen
Folgen ihrer Rosenspur.
Küsse gab sie uns und Reben,
Einen Freund, geprüft im Tod;
Wollust ward dem Wurm gegeben,
Und der Cherub steht vor Gott!
Froh, wie seine Sonnen fliegen
Durch des Himmels prächt’gen Plan,
Laufet, Brüder, eure Bahn,
Freudig wie ein Held zum Siegen.
Seid umschlungen, Millionen!
Diesen Kuss der ganzen Welt!
Brüder! Überm Sternenzelt
Muss ein lieber Vater wohnen.
Ihr stürzt nieder, Millionen?
Ahnest du den Schöpfer, Welt?
Such’ ihn überm Sternenzelt!
Über Sternen muss er wohnen.
O friends, no more of these sad tones!
Let us rather raise our voices together
In more pleasant and joyful tones!
Joy, thou shining spark of God,
Daughter of Elysium!
With fiery rapture, goddess,
We approach thy shrine.
Your magic reunites those
Whom stern custom has parted,
All men will become brothers
Under your protective wing.
Let the man who has had the fortune
To be a helper to his friend,
And the man who has won a noble woman,
Join in our chorus of jubilation!
Yes, even if he holds but one soul
As his own in all the world!
And let the man who knows nothing of this
Steal away alone in sorrow!
All the world’s creatures draw
Draughts of joy from Nature’s breast;
Both the just and the unjust
Follow in her gentle footsteps.
She gave us kisses and wine
And a friend loyal unto death;
She gave the joy of life to the lowliest,
And to the angels who dwelt with God!
Joyous, as His suns speed
Through the glorious order of Heaven,
Hasten, brothers, on your way
Of joyous deeds to victory.
Be embraced, all ye millions!
With a kiss for all the world!
Brothers, beyond the stars
Surely dwells a loving Father.
Do you kneel before Him, O millions?
Do you feel the Creator’s presence?
Seek Him beyond the stars!
He must dwell beyond the stars.
Ludwig van Beethoven / Text by Friedrich Schiller
Symphony No. 9 in D minor, Op. 125, “Choral”
TEXT & TRANSLATIONMARY EL IZABETH WILL IAMS
Soprano
“She has a soft bronze
voice with a limpid
quality, whether she is
singing at her loudest or
floating out a gentle little
phrase that tamed the
bombast of the big Act II
ensemble. She is also a
wonderful presence on
stage, at once regal and human.”
– The Washington Post
Mary Elizabeth Williams is a native of
Philadelphia, Pennsylvania and lives
currently in Milan, Italy. She is very happy
for every opportunity to perform in Seattle
because it has been an important city for
her artistic development for over 15 years.
Williams was a young artist with Seattle
Opera in 2000, and has subsequently
sung with Seattle Opera as a main stage
guest artist in five different productions
since 2010. The bulk of her repertoire is
Italian romantic or verismo opera, and she
is especially lauded for her portrayals of
dramatic coloratura heroines, like Norma
(Norma), Abigaille (Nabucco), Lady Macbeth
(Macbeth) and Odabella (Attila).
RINAT SHAHAM
Mezzo-soprano
Israeli-born mezzo-
soprano Rinat Shaham
has received accolades
for her operatic and
concert performances at
the most prestigious
theaters throughout the
world. Internationally
recognized as one of
today’s finest interpreters of Bizet’s Carmen,
she gave her first performance at the 2004
Glyndebourne Festival and has since
portrayed the role internationally. Born in
Haifa, Shaham completed her musical
studies in the United States at the Curtis
Institute of Music. While still in school,
Shaham was invited to make her
professional operatic debut as Zerlina with
the Opera Company of Philadelphia, the
same role she performed for her debut in
New York City and Pittsburgh. Shaham has
recorded excerpts from operas by Lully
under William Christie for Erato as well as a
solo CD of Gershwin and Purcell with The
Viol Group Fuoco e Cenere on ATMA.
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22 SEATTLESYMPHONY.ORG
KENNETH TARVER
Tenor
A graduate of Yale
University, Oberlin
College and the Met
Young Artist program,
Grammy Award-winning
tenor Kenneth Tarver
specializes in Mozart,
Berlioz and virtuosic Bel
Canto repertoire. During
his extensive operatic career he has
performed in such prestigious venues as the
Festival of Aix-en-Provence, the Edinburgh
Festival, Staatsoper Berlin and Covent
Garden. He has appeared with leading
orchestras such as London Symphony
Orchestra, the New York Philharmonic, the
Concertgebouw Amsterdam and the Berlin
Phiharmonic with leading conductors
including Sir Colin Davis, Riccardo Chailly
and Pierre Boulez, recording extensively for
Opera Rara (La Donna del Lago), Harmonia
Mundi (Idomeneo) LSO Live (Les Troyens,
Beatrice et Benedict, Roméo et Juliette) and
most recently Cosi fan tutte and Don
Giovanni with Teodor Currentzis for Sony,
which The Times (UK) praised for “Kenneth
Tarver’s mellifluous Don Ottavio — giving an
object lesson in style and technique.”
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JONATHAN LEMALU
Bass
Jonathan Lemalu, a New
Zealand-born Samoan,
graduated from a
Post-graduate Diploma
Course in Advanced
Performance on the
London Royal Schools
Opera Course at the
Royal College of Music
and was awarded the prestigious Tagore
Gold Medal. He is a joint winner of the 2002
Kathleen Ferrier Award and the recipient of
the 2002 Royal Philharmonic Society’s
Award for Young Artist of the Year. He has
performed at the Munich, Edinburgh, Ravinia
and Tanglewood Festivals and at the BBC
Proms. He released a debut recital disc on
EMI with Roger Vignoles to great critical
acclaim and which won a Gramophone
Debut Disc of the Year Award. Other
recordings include an operatic arias disc
with the New Zealand Symphony Orchestra
and a disc of English and American songs
with Malcolm Martineau.
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CYNTHIA MILLAR
Ondes Martenot
Cynthia Millar was born in
London and studied the
ondes Martenot first with
John Morton and later
with Jeanne Loriod. Since
she first played the
Turangalila-Symphonie
at the BBC Promenade
Concerts in London with
Sir Mark Elder and the National Youth
Orchestra of Great Britain, her performances
with many of the world’s leading orchestras
and conductors run to triple figures. She has
recorded Turangalila with the Bergen
Symphony Orchestra conducted by Juanjo
Mena for Hyperion. Other repertoire
includes Honegger’s Jeanne d’Arc au
Bûcher, Varèse’s Equatorial and Messiaen’s
Trois petites liturgies which she has
recorded for Virgin Classics and for Globe.
In summer 2016 she performed the
important solo ondes Martenot part written
especially for her by Thomas Adès in his
opera The Exterminating Angel at the
Salzburg Festival, soon to be heard at the
Royal Opera House in London and The
Metropolitan Opera in New York. Alex Ross
writing in The New Yorker said “Cynthia
Millar’s playing of the ondes was so acutely
expressive that she might have taken a bow
with the singers.”
FROM THE ARTIST: “The first time I heard Messiaen’s Trois
petites liturgies was in a recording from
Paris in my early teens. I was bewitched
by its textures. I still vividly remember the
impression it made on me, listening on
a radio with an ear bud, tucked away in
the school library breaking the rules! The
work contains one of the most beautiful
of all ondes Martenot solos, which shows
very well one of the two distinct methods
of playing the ondes. The piece belongs
to the sound world of Turangalila (which I
performed here in Seattle a few years ago)
and to that of the magnificent Quartet for
the End of Time (which was also performed
on that occasion). And to the choral Cinq
rechants. It is such a pleasure to be back
with Ludovic (with whom I have performed
this piece in Chicago, Brussels and Aix-en-
Provence) and this wonderful orchestra. I
have been so looking forward to returning.”
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MICHAEL BROWN
Piano
Winner of a 2015 Avery
Fisher Career Grant,
Michael Brown has been
described by The New
York Times as “one of the
leading figures in the
current renaissance of
performer-composers.”
Selected by Sir András
Schiff for his “Building Bridges” series in
2016–17, Brown will make debut solo recitals
in Berlin, Florence, Milan, Frankfurt, Antwerp,
Zurich, and New York’s 92nd Street Y
performing the music of Mendelssohn,
Beethoven, Bernstein and his own
composition. Brown joined the roster of The
Chamber Music Society of Lincoln Center’s
CMS Two program in 2015 and performs
with the Society in Alice Tully Hall and on
tour. Recent commissions of his own works
include a Piano Concerto for the Maryland
Symphony and various chamber pieces. A
native New Yorker, Brown earned dual
bachelor’s and master’s degrees in Piano
and Composition from The Juilliard School,
where he studied with pianists Jerome
Lowenthal and Robert McDonald and
composers Samuel Adler and Robert Beaser.
FROM THE ARTIST: “As a teenager, I fell in love with
Messiaen’s Quartet for the End of Time. I
was so taken by his unique compositional
voice and his unbelievably imaginative
color palette. I’ve now performed
the Quartet on a few different occasions
and each time has been a powerful and
transformative experience for me. These
performances in Seattle will be my first
time performing another masterpiece by
Messiaen, his Trois petites liturgies de la
Présence Divine. Ludovic Morlot and I met
through the widow of the late American
composer George Perle and share a love
for his music. This will be my second time
collaborating with Maestro Morlot, the first
being a performance of Perle’s Serenade
No. 3 and Critical Moments (No. 1) in May
2015. I’m delighted to be back in Seattle
and excited to perform Messiaen with
Maestro Morlot. I’ll also spend a few minutes
watching the fish throwing at Pike Place
Market and searching for the best pour-over
coffee.”
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encoreartsseattle.com 23
NORTHWEST BOYCHOIR
Perhaps best known in
the Puget Sound region
for its annual A Festival of
Lessons and Carols, the
Northwest Boychoir’s musical
sophistication, rich tonal quality
and dedication to exacting
perfection have established its
reputation as one of the nation’s
premier boychoirs. Along
with Vocalpoint! Seattle, the
Northwest Boychoir has trained
thousands of young singers for
more than 40 years, and more
significantly, shaped the lives
of our region’s youth by teaching important lessons in personal commitment and the value
of teamwork. Led by Joseph Crnko, now in his 33rd year as music director, the Choir’s staff
of professional musicians and educators is engaged in the teaching of a rigorous curriculum
that trains young singers, 6 to 18 years old, to be fully skilled musicians who sing at the
highest professional level, read music fluently and perform in professional settings with
confidence.
For more than 30 years, the Choirs have maintained a close working relationship with
the Seattle Symphony and participate annually in the performance of great choral works.
Performances last season included being the featured artist in the March Baroque concert
series, Stravinsky’s Symphony of Psalms and The Fellowship of the Ring. In January the
Northwest Boychoir will perform the Messiaen’s Trois petites liturgies de la Présence Divine
with the Seattle Symphony and will return to Benaroya Hall to perform Ravel’s L’enfant et les
sortilèges in June. Together with the Ladies of Vocalpoint! Seattle, the Northwest Boychoir
shared a 2009 Grammy nomination with the Seattle Symphony for a recording of Samuel
Jones’ The Shoe Bird. In addition to serving as the official “Singing Ambassadors” of
Washington State, the Northwest Boychoir has toured both nationally and internationally.
Northwest Boychoir
Joseph Crnko, Conductor & Music Director
Tigran Avakyan
Andrew Barnes
Henry Barnes
Henry Bauck
Dominic Bennett
Max Boyd
Benjamin Butler
Mason Collins
Henry Dejanikus
Max Dorn
Jake Flaa
Dominic Giuzio
Rohan Kapur
Kenan Lauder
Justin Lee
Hanri Luo
David Magidson
Keiyu Mamiya
Joe Miller
William Murray
Rayjin Olson
Anders Pohlmann
Eli Porter
Will Rayment
Leo Rosales
Nathaniel Rose
Sebastian Santa Lucia
Jordan Scherr
Gabriel Sharp
Layth Stauffer
Aidan Su
Forrest Wu
Sammy Yang
Andrew Young
Alexander Zuniga
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PROGRAM NOTES continued
of the movement is an elaborate setting
of Schiller’s ode. During the course of this
presentation, the composer employs, in
varying configurations, the full range of
instrumental and vocal resources at his
disposal, and the “Ode to Joy” theme,
which seemed so modest at its first
appearance, becomes a soaring anthem
for joy, for brotherhood, for all Beethoven
hoped mankind might be.
Scored for solo voices and chorus; 2
flutes and piccolo; 2 oboes; 2 clarinets;
2 bassoons and contrabassoon; 4
horns; 2 trumpets; 3 trombones; timpani,
percussion and strings.
© 2017 Paul Schiavo
EAP 1_6 V template.indd 1 12/7/16 10:06 AM
24 SEATTLESYMPHONY.ORG
SEATTLE SYMPHONY CHORALE
The Seattle Symphony Chorale
serves as the official chorus of the
Seattle Symphony. Over the past four
decades, the Chorale has grown in
artistry and stature, establishing itself
as a highly respected ensemble. Critics
have described the Chorale’s work
as “beautiful, prayerful, expressive,”
“superb” and “robust,” and have
praised it for its “impressive clarity
and precision.” The Chorale’s 120
volunteer members, who are teachers,
doctors, attorneys, musicians, students, bankers and professionals from all fields, bring
not only musical excellence, but a sheer love of music and performance to their endeavor.
Directed by Joseph Crnko, Associate Conductor for Choral Activities, the Chorale
performs with the Seattle Symphony both onstage and in recorded performances.
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SopranoCaitlin Anderson-PattersonLaura AshAmanda BenderLolly BrasseurEllen CambronEmma CrewErin M. EllisJacquelyn ErnstZanne GerrardEmily HanTeryl HawkAnne HudsonCaitlin HuttenSharon JarniganElizabeth JohnsonKaty KaltenbrunSeung Hee KimLori KnoebelKori LoomisJanelle MaroneyMegan McCormickAlyssa K. MendleinGeraldine MorrisKristen NelsonHelen OdomNicolle OmisteMargaret PaulSasha S. PhilipKirsten RuddyAna RykerEmily SanaBarbara Scheel*Laura A. ShepherdJoy Chan TappenCatherine ThornsleyToby TrachyAndrea Wells
AltoCynthia BeckettIvy Rose BostockNancy BrownsteinCarol BurlesonGrace Carlson
Terri ChanRachel CheremChristi Leigh CoreyLauren CreePaula Corbett CullinaneAurora de la CruzLisa De LucaRobin DenisKaley Lane EatonCindy FunaroCarla J. GiffordAmy GleixnerKelly GoodinCatherine HaddonShreya JosephInger Kirkman*Sara LarsonRachel Lieder SimeonMonica NamkungErica J PetersonKaris PrattAlexia RegnerValerie RiceEmily RidgwayDale SchlotzhauerDarcy SchmidtCarreen A. SmithKathryn TewsonPaula ThomasJoAnn WuitschickMindy Yardy
TenorMatthew BlinstrubJoe CookSpencer DavisAnton R. du PreezDavid P. HoffmanJim HowethNeil JohnsonKevin Kralman*Patrick Le QuereIan LoneyJames H. LovellAndrew Worthen Lyon
Andrew MageeLucky James MiddaughEd MorrisSean MorseAlexander OkiJames PhamVijay RamaniJonathan M. RosoffBert RutgersPeter SchinskeSpencer SmallMax Willis
BassJohn AllwrightJay BishopHal BomgardnerCarl CraftsAndrew CrossDarrel EdeMorgan ElliottEvan FiguerasCurtis FongerSteven FranzDavid GaryRaphael HadacKelvin HelmeidRob JonesRonald KnoebelTim KrivanekKC LeeThomas C. LoomisBryan LungKen RiceMartin Rothwell*Edward SamChristopher SmithJim SnyderAndrew SybesmaJoseph ToMichael UyyekJared WhiteLavert Woodard
* principal of section
JOSEPH CRNKO
Seattle Symphony Associate Conductor for Choral Activities
SEATTLE SYMPHONY:
Joseph Crnko was
appointed Associate
Conductor for Choral
Activities for Seattle
Symphony in
September 2007.
Crnko brings a wealth
of choral conducting,
arranging, recording and education
experience to his position. He has
prepared the Seattle Symphony Chorale
for numerous critically acclaimed
performances, including Bach’s
St. Matthew Passion, Britten’s War
Requiem, Handel’s Messiah and Verdi’s
Requiem.
NORTHWEST CHOIRS: Crnko is currently
in his 33rd year as Music Director of the
Northwest Choirs. During his tenure, he
has established the Northwest Choirs’
reputation as one of the nation’s premier
children’s choirs. Crnko tours worldwide
with the elite Northwest Boychoir, most
recently with concert tours throughout our
nation and Europe. Under his directorship,
the Northwest Boychoir has produced
four top-selling Christmas recordings.
In addition, the Northwest Boychoir is
featured on Naxos’ release of Hans Kråsa’s
children’s opera Brundibár, named by
the Metropolitan Opera Guild as one
of the top classical CDs of 2007. The
Northwest Boychoir is also featured on
Seattle Symphony’s release of Samuel
Jones’ The Shoe Bird, which received a
Grammy nomination in 2009. Recently
the Northwest Boychoir presented the
world-premiere of VEDEM, a new work
by composer Lori Laitman. The Boychoir’s
recording of this work was released on the
Naxos label.
CHORAL ARRANGEMENTS & CONDUCTING:
Over the years, Crnko has written choral
arrangements for boy choirs, a number of
which are now being performed by choirs
nationally. His Christmas arrangements
are featured in the major motion picture
Millions. In addition to his work with
the Northwest Choirs, Crnko regularly
conducts orchestral and choral recording
sessions for movie and video game
soundtracks, including those for the video
games Halo, Medal of Honor and World of
Warcraft. Some of his recent film projects
include Boondock Saints, The Celestine
Prophecy, The Last Stand and Let Me In.
encoreartsseattle.com 25
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BRENT HAVENS
Conductor
Berklee-trained
arranger/conductor
Brent Havens has
written music for
orchestras, feature films
and virtually every kind
of television. His TV
work includes movies
for networks such as
ABC, CBS and ABC Family Channel
Network, commercials, sports music for
networks such as ESPN and even
cartoons. Havens has also worked with the
Doobie Brothers and the Milwaukee
Symphony, arranging and conducting the
combined group for Harley Davidson’s
100th Anniversary Birthday Party Finale.
Havens recently completed the score for
the film Quo Vadis, a Premier Pictures
remake of the 1956 gladiator film. In 2013
he worked with the Baltimore Symphony
and the NFL’s Baltimore Ravens to arrange
and produce the music for the
Thanksgiving Day halftime show between
the Ravens and Pittsburgh Steelers,
adapting both classical music and rock
songs. Havens is Arranger/Guest
Conductor for 14 symphonic rock
programs. Havens also premiered a full
orchestral show for Lou Gramm, The Voice
of Foreigner with Lou singing out front.
FROM THE ARTIST: “The first time I sat down to listen to David
Bowie’s music as a composer and arranger
(rather than as a music consumer) was
in June of 2015. We had been thinking
about artists to present and I had received
David’s Greatest Hits CD and began
listening through his material. I noticed that
he had such a wide range of genres as a
songwriter and singer that it was difficult
to pin him down into a specific genre as
an artist. With the different stages of his
musical career it was as if a completely
different artist was writing the songs. From
his Ziggy Stardust days to his more L.A.
sounding material, his New York influenced
work and even his collaborations with
different artists made David an artist who
was a chameleon. I quickly realized that his
material would fit quite well with orchestral
accompaniment and our audiences get to
hear the end result.”
Tuesday, January 10, 2017, at 7:30pm
WINDBORNE’S THE MUSIC OF DAVID BOWIE: A ROCK SYMPHONY WITH THE SEATTLE SYMPHONYBrent Havens, conductor
Tony Vincent, vocals
Dan Clemens, bass guitar
Powell Randolph, drums
George Cintron, guitar
Justin Avery, keyboard
Seattle Symphony
Tonight’s program will be announced from the stage.
Music Sponsor: KEXP
26 SEATTLESYMPHONY.ORG
TONY VINCENT
Vocals
Tony Vincent grew up
in Albuquerque, New
Mexico, and in his early
teens began writing
songs heavily
influenced by Depeche
Mode, New Order and
Tears for Fears. While
attending university
(Nashville), Vincent started a record
company and recorded an EP, which led to
a recording contract with EMI records. The
two solo albums (Tony Vincent, One Deed)
followed producing six No. 1 Billboard
radio singles. Shortly after moving to New
York in 1997 to continue his recording
career, Vincent took an unexpected detour
into the world of rock-based theater,
initially as part of the first national tour of
Rent, then making his Broadway debut in
the 1999 production. He was Simon
Zealotes in the 2000 film Jesus Christ
Superstar, and Judas Iscariot in the
Broadway revival that followed. Vincent
originated the role of Galileo Figaro in the
West End production of We Will Rock You.
He also originated the role of St. Jimmy in
Green Day’s American Idiot. Vincent
continues to write and produce for future
projects, both as a solo artist, as a
producer for other artists and under the
band moniker Mercer.
FROM THE ARTIST: “From as far back as I can remember,
I was deeply influenced by my father’s
extensive record collection and the music
that was coming out of the UK during the
late ‘70s and most of the ‘80s and ‘90s.
As a songwriter and performer I was
heavily impacted by bands and artists that
were dubbed ‘new wave,’ ‘electronic’ and
‘experimental.’ David Bowie most definitely
fell into those categories — but he also
took music to a new and individually iconic
place — from his music to his style to his
androgynous persona. Years later — after
those songs were initially recorded — it’s
not only a thrill, but an honor to perform
his music. I have always connected to the
material and I feel that now I’ve been given
an opportunity to give back to him by
representing these songs in the most true
and honest way that I can.”
YOUR SYMPHONY. YOUR LEGACY.
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season sponsor
seattlerep.org | 206.443.2222FEBRUARY 10 - MARCH 5
directed by braden abrahamby Lisa Kron
FRoM tHE tonY AwARd-winningwRitER And lYRiCist oF FUn HoME
encoreartsseattle.com 27
Friday, January 13, 2017, at 8pm
Saturday, January 14, 2017, at 8pm
Sunday, January 15, 2017, at 2pm
LUCK BE A LADY MEGAN HILTY SINGS SINATRA & MORESEATTLE POPS SERIES Title Sponsor:
Steven Reineke, conductor | Megan Hilty, vocals ♦ | Seattle Symphony
FRANK LOESSER Blonde Overture/ /arr. Fred Barton “Luck be a Lady” ♦
CY COLEMAN “The Best is Yet to Come” ♦ /lyrics Carolyn Leigh /arr. Quincy Jones
MARC SHAIMAN “They Just Keep Moving SCOTT WHITMAN the Line” from Smash ♦ /arr. William White
JULE STYNE “The Rainbow Connection” ♦ /arr. Tim Berens
COLE PORTER I’ve Got You Under my Skin /arr. Nelson Riddle/Price
KURT WEILL Mack the Knife from /arr. Steven Reineke The Threepenny Opera
JOSEPH KOSMA, “Autumn Leaves”— BARRY MANILOW “When October Goes” ♦ /lyrics Johnny Mercer /arr. Christopher Marlowe/orch. Steven Reineke
STEPHEN SCHWARTZ “Popular” from Wicked ♦ /arr. William David Brohn
JULE STYNE, LEO ROBIN “Diamonds are a Girl’s Best Friend” from Gentlemen Prefer Blondes ♦
INTERMISSION
Arr. Steven Reineke I Hear a Symphony: Symphonic Sounds of Diana Ross
ZAQUINHA ABREU Tico-Tico no Fubá
FREDERICK LOEWE/ “Almost like Being in Love”— /lyrics Alan Jay Lerner “This Can’t Be Love” ♦
RICHARD RODGERS, LORENZ HART/arr. Chris Jahnke
MARC SHAIMAN, “Second Hand White Baby SCOTT WHITMAN Grand” from Smash ♦ /arr. Jeff Atmajian
BARRY MANILOW Copacabana /arr. Tim Berens
JOHN KANDER, FRED EBB New York, New York /arr. Bill Elliott
GEORGE GERSHWIN “Someone to Watch Over Me” /lyrics Ira Gershwin from Oh Kay! ♦ HAROLD ARLEN “Come Rain or Come Shine” ♦ /lyrics Johnny Mercer
Concert sponsor for the Friday performance: Holland America Line
Please turn off all electronic devices and refrain from taking photos or video.
Performance ©2017 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.
28 SEATTLESYMPHONY.ORG
SEATTLE POPS SERIES
TITLE SPONSOR
THE SEATTLE SYMPHONY
THANKS MCM FOR MAKING
THE SEATTLE POPS SERIES POSSIBLE.
STEVEN REINEKE
Conductor
Reineke is the Music
Director of the New York
Pops at Carnegie Hall,
Principal Pops
Conductor of the
National Symphony
Orchestra at the John F.
Kennedy Center for the
Performing Arts,
Principal Pops Conductor of the Toronto
Symphony Orchestra and Principal Pops
Conductor Designate of the Houston
Symphony. On stage Reineke has created
programs and collaborated with a range
of leading artists from the worlds hip-hop,
Broadway, television and rock including
Kendrick Lamar, Nas, Sutton Foster, Megan
Hilty, Cheyenne Jackson, Wayne Brady,
Peter Frampton and Ben Folds, and others.
As the creator of more than 100 orchestral
arrangements for the Cincinnati Pops
Orchestra, Reineke’s work has been
performed worldwide, and can be heard on
numerous Cincinnati Pops Orchestra
recordings on the Telarc label. His
symphonic works Celebration Fanfare,
Legend of Sleepy Hollow and Casey at the
Bat are performed frequently in North
America. His numerous wind ensemble
compositions are published by the C.L.
Barnhouse Company and are performed by
concert bands around the world. A native of
Ohio, Reineke is a graduate of Miami
University of Ohio, where he earned
bachelor of music degrees with honors in
both trumpet performance and music
composition.
FROM THE ARTIST: “I met Megan Hilty five, maybe six years
ago at one of the New York Pops gala
evenings. Since that first concert together,
I’ve always wanted to build a show around
her incredible talent. Megan has a beautiful
voice and her singing is effortless, but she
also has that extra ‘spice’ that makes her
performances unforgettable. We’re doing
some of her signature songs from Smash
and Wicked, but I’m most excited about
‘Come Rain or Come Shine.’ Megan will sing
Judy Garland’s arrangement from her 1961
concert at Carnegie Hall. It’s not your typical
ballad. It’s high energy, almost hyper. It will
absolutely bring the house down.”
Phot
o: M
icha
el T
amm
aro
encoreartsseattle.com 29
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 ©2017 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.
MEGAN HILTY
Vocals
A native of Seattle,
Megan Hilty moved to
New York City after
graduating from the
prestigious Carnegie
Mellon University, and
quickly made her
Broadway debut as
Glinda in Wicked. She
went on to perform the role in both the
national tour and in Los Angeles. Hilty is
most recognizable for her portrayal of
seasoned triple-threat Ivy Lynn in NBC’s
musical drama Smash. She followed up the
series with a starring role on the comedy
Sean Saves the World. Last spring Hilty
received critical acclaim for her role of
Brooke Ashton in the Roundabout Theater
Company’s revival of Noises Off. She
earned nominations for a Tony Award,
Drama Desk Award and Drama League
Award and won a Broadway.com Audience
Award for Favorite Featured Actress in a
Play. Earlier this year, she recurred on
Bravo’s dramedy Girlfriend’s Guide to
Divorce and the final season of CBS’ The
Good Wife. Last May Hilty released a live
album comprising of songs from her recent
concert tour, entitled Megan Hilty Live at
the Café Carlyle. She also completed a
residency at New York’s Café Carlyle,
where she previously performed the last
two years. Last summer she appeared in
Hulu’s Difficult People and CBS’ BrainDead
and made her Australian debut as part of
the Adelaide Cabaret Festival. Hilty’s most
recent release is a Christmas album
entitled A Merry Little Christmas.
FROM THE ARTIST: “The first time I performed this material
was with Steven Reineke and the National
Symphony Orchestra at the Kennedy
Center in Washington, D.C. Since then,
we’ve taken this program all over the
country including Carnegie Hall with the
New York Pops, but it is especially thrilling
to bring this concert to my hometown and
perform with the great Seattle Symphony. I
hope you enjoy the show!”
Phot
o: N
atha
n Jo
hnso
n
Thursday, January 19, 2017, at 7:30pm
SHOSTAKOVICH CONCERTO FESTIVAL ISPECIAL PERFORMANCES
Pablo Rus Broseta, conductor
Aleksey Semenenko, violin
Edgar Moreau, cello
Kevin Ahfat, piano
David Gordon, trumpet
Seattle Symphony
DMITRI SHOSTAKOVICH Piano Concerto No. 1 in C minor, Op. 35 21’ Allegro moderato— Lento— Moderato— Allegro con brio KEVIN AHFAT, PIANO DAVID GORDON, TRUMPET
DMITRI SHOSTAKOVICH Violin Concerto No. 2 in C-sharp minor, 29’ Op. 129 Moderato Adagio— Adagio—Allegro ALEKSEY SEMENENKO, VIOLIN
INTERMISSION
DMITRI SHOSTAKOVICH Cello Concerto No. 1 in E-flat major, Op. 107 30’ Allegretto Moderato— Cadenza— Allegro con moto EDGAR MOREAU, CELLO
See pages 12–13 for a feature on Shostakovich.
30 SEATTLESYMPHONY.ORG
Shostakovich Concerto FestivalThe six concertos for solo instruments
and orchestra by Dmitri Shostakovich
represent a lifetime of experiences.
They are distributed throughout his
career, from the early Piano Concerto
No. 1, which the composer himself
premiered in 1933 when he was only 27
years old, to one of his latest works, the
haunting Violin Concerto No. 2, written
in the last years of his life. They reflect
life-long friendships — the two violin
concertos were dedicated to David
Oistrakh and the two cello concertos
to Mstislav Rostropovich. Finally, these
works reflect, directly and indirectly, the
events and pressures of the composer’s
era. This, of course, can be said about
any work by any composer, but given
the circumstances of Shostakovich’s life
and times, the surrounding political and
cultural events are particularly telling.
DMITRI SHOSTAKOVICH
BORN: September 25, 1906, in St. Petersburg
DIED: August 9, 1975, in Moscow
Piano Concerto No. 1
WORK COMPOSED: 1933
WORLD PREMIERE: October 15, 1933, at the
Large Hall of the Leningrad Philharmonic,
with Fritz Stiedry conducting the Leningrad
Philharmonic Orchestra and Dmitri Shostakovich
(piano) and Alexander Shmidt (trumpet) as
soloists.
Shostakovich’s First Piano Concerto actually
began its life as a trumpet concerto. But,
dissatisfied with his progress, the composer
decided to add a piano to the mix and, as
he recalled later, the new instrument just
took over! Although this is the earliest piece
in the festival, it nevertheless introduces
many of the musical fingerprints we will hear
throughout: quick stylistic juxtapositions,
references to other compositions and
a driving burlesque quality in the fast
movements. Shostakovich premiered this
concerto as the piano soloist and played it
many times over his performing career.
The opening movement gives every
indication of a solemn start. The first main
theme recalls Beethoven’s “Appassionata”
Sonata, certainly the very definition of
Serious Musical Territory. It is extended
throughout the ensemble (a strings-only
orchestra, plus the trumpet) and we finally
end with a mock-Romantic mini-cadenza,
featuring lots of solemn pianistic devices.
But this leads us to a very un-solemn
second motivic group, rich in off-beat, jokey
statements. We eventually return to the
more serious world of the first theme, a
mood reinforced by the deliberate pace of
the second movement, a slow motion waltz
that unfolds gently in a three-part form, with
a sustained theme surrounding an agitated
inner section featuring the piano.
The brief third movement offers a quick
reset, showcasing the piano against dense
writing for the string ensemble and taking
us immediately into the frenetic finale.
After a dramatic thematic buildup, we land
on an English music hall ditty (“Jenny sits
a-weeping,” a tune Shostakovich used in
several works) played by the trumpet. The
piano’s only contribution here is a gleeful
chord pounded out once in the middle of
the tune. The cadenza in this movement
is in the “correct” place but it is turned
on its head, beginning with the grand
concluding trill and final-sounding chords
and only then launching into the cadenza
proper, with musical quotations that fly by
(you may catch a reference to Beethoven’s
“Rage Over a Lost Penny,” a fitting image
for the movement). The work concludes
with almost impossibly quick thematic
restatements.
Scored for solo piano, solo trumpet and
strings.
Violin Concerto No. 2
WORK COMPOSED: 1967
WORLD PREMIERE: September 26, 1967. Kirill
Kondrashin conducted the Moscow Philharmonic
Orchestrak, and David Oistrakh was soloist.
In approaching the sound world of
Shostakovich’s final concerto, it helps to
recall the composer’s description: “virtually
everything,” he said, “is set out by the solo
violin, everything is concentrated in its part.”
The work opens with twisting utterances
by the soloist, gradually building to a
faster pace, with very difficult double stops
(playing on two strings simultaneously)
for the soloist and percussive interactions
with the ensemble. A march-like interlude
features the horns, and this, too, builds
into a more percussive statement. The
cadenza brings back the opening mood,
with the soloist in effect accompanying
himself with another frenzy of double stops,
and the movement concludes with a brief
reminiscence of the march, again with the
prominent horn.
A sense of calm introspection pervades
the second movement, precise yet
propulsive, with a flowing theme articulated
first by the soloist and then unfolding
through a series of exchanges with the
wind instruments. A soaring, extremely
high passage for the soloist moves into
an unexpected cadenza, ushered in and
out by the timpani. We recede back to
the opening theme, which again features
the horn. It may be dangerous to equate
Shostakovich’s precarious state of health at
this time with the meditative mood here, but
as the scholar Laurel Fay describes it, the
composer was “wringing [this composition]
out of himself note by note.” We may sense
this difficult process most clearly in this
movement.
The concerto concludes, without a
break, with a burlesque-like theme that
is Shostakovich’s own special terrain. It
recurs several times, with prominent use of
the horns and abrupt interjections by the
percussion. The cadenza is the longest of
the work, with many of the double and triple
stops we’ve been hearing throughout.
Scored for solo violin; flute and piccolo;
2 oboes; 2 clarinets; 2 bassoons and
contrabassoon; 4 horns; timpani, percussion
and strings.
Cello Concerto No. 1
WORK COMPOSED: 1959
WORLD PREMIERE: October 4, 1959, at the
Large Hall of the Leningrad Philharmonic,
with Yevgeny Mravinsky conducting the
Leningrad Philharmonic Orchestra and Mstislav
Rostropovich as soloist.
The Cello Concerto No. 1 was
Shostakovich’s first work for the brilliant
cellist Mstislav Rostropovich. Although
Rostropovich was eager to ask the
composer to write for him, he knew that the
only way to make this happen was to keep
quiet — so Rostropovich was relentlessly
silent and was therefore delighted when he
PROGRAM NOTES
encoreartsseattle.com 31
PABLO RUS BROSETA
Conductor
Following the highly
successful opening
concert of Festival
Musica 2014 in
Strasbourg, where
Pablo Rus Broseta
conducted the
SWR Symphony
Orchestra in joint
performances with the Ensemble Modern,
the young Spanish conductor became
known to a wider international audience.
He has since made his successful debuts
with the WDR Symphony Orchestra
Cologne, the SWR Radio Symphony
Orchestra Stuttgart, the Orquesta
Filarmónica de Buenos Aires, the
BBC Symphony Orchestra and the
Orquesta Sinfónica de Radio Televisión
Española. In 2016 he made his debuts with
the Ensemble intercontemporain and the
Orquesta Sinfónica do Porto, and has been
re-invited to both the WDR and the SWR as
well as Ensemble Modern. In autumn 2015
he took up the position of Assistant
Conductor of the Seattle Symphony and
was promoted to Associate Conductor for
the 2016–2017 season. He is rapidly
building a wide-ranging repertoire from
Handel to John Adams, with a focus on the
great symphonic repertoire.
FROM THE ARTIST: “I have to admit that I always had a love-
hate relationship with Shostakovich. Maybe
I have been influenced by what the French
conductor and composer Pierre Boulez
said about Shostakovich’s music. Boulez
thought that the musical substance of
this music is trivial. Maybe Shostakovich
was not pushing the limits of the musical
language, but I think that his personal way
of expression is unique and that’s what
remains. His sound has always attracted
me — especially the musical pacing of his
concertos. One can discover a lot about
his personality and character through the
way he uses the soloist, the orchestral
sound or the string quartet. All the political
and social events and issues around his
music are really important to understand
him, but his sound reveals a lot about him
in a subtle way.”
Phot
o: Yu
en Lu
i Stu
dio
Chuc
k Mos
es
ALEKSEY SEMENENKO
Violin
Born in Odessa,
Ukrainian violinist
Aleksey Semenenko
began his violin studies
at the age of 6 and only
a year later performed
Vivaldi’s Violin
Concerto in A minor
with the Odessa
Philharmonic Orchestra. He currently
studies with Zakhar Bron at the
Hochschule für Musik in Cologne.
Semenenko is praised for passionate
performances replete with “stunning
technique and intonation, verve, wit,
delicatesse, and beautiful phrasing” (The
Boston Musical Intelligencer). Most
recently, Semenenko was a recipient of the
2016 Orlando Award of the Dubrovnik
Summer Festival for “the best achievement
in music.” As winner of the 2012 Young
Concert Artists International Auditions, he
was presented in debut recitals at Merkin
Concert Hall in New York and the Kennedy
Center in DC, for which he received critical
acclaim.
FROM THE ARTIST: “My favorite thing about performing is
sharing my feelings or story with the
audience and using the reflection of
people, which comes back to me while
playing and helps me to succeed even
more. This will be my first performance on
the West Coast of the U.S. — the important
and challenging one. The music of
Shostakovich is quite hard to understand.
You have to grow into it. For me especially
into the Second Concerto, which is the
less famous one. This is already late
Shostakovich. You have to dive into
a certain atmosphere, sometimes a
depressed or demonic one. Darkness and
deepness. There is not even one happy
or relaxed moment through the whole two
concertos. He reflects very much on the
time of the Soviet Union, this regime, war
and the time right after. He is probably the
most Sovietic composer of all. I can judge
or compare his music to that time only by
watching videos or some documentaries,
which helps a lot.”
Phot
o: C
hris
tian
Stei
ner
PROGRAM NOTES continued
learned about the completion of the work
... from a newspaper article! It premiered
in Leningrad on October 4, 1959, after the
performer’s heroic immersion in the piece:
he learned it in just four days.
The work uncoils like a spring, with the
soloist’s declamation of the primary theme,
just four notes, which then dominates the
movement. The second motif is slightly
slower but with urgent repeated notes,
introduced in a high register by the soloist.
The horn takes an increasing role as the
movement proceeds, ultimately sharing
in a brief cadenza that is made up almost
entirely of strongly accented chords.
The second movement provides some
repose, with a stately motif made up of
unexpected intervallic detours projected
against a rich orchestral fabric. Again
the horn’s role is prominent, especially
at the beginning and ending, with a
passionate interlude in between whose
growing intensity is marked by the
increasing use of double stops by the
soloist. The movement subsides with a
striking passage for cello playing the eerie
glass-like sounds produced by harmonics
(touching the string very lightly in order to
produce a higher, hollow-sounding pitch),
complemented by the pure sounds of the
celeste. A final passage by the low strings
returns us to earth, but we are immediately
launched into the third movement,
Cadenza, in which the soloist reflects on
previous themes and techniques, building
to a stunning density before drawing the
ensemble into the final movement.
There is a carnivalesque quality to this last
movement, which maintains its reckless
pace throughout. Shostakovich includes
a sly reference to one of Stalin’s favorite
tunes, “Suliko” — don’t worry if you miss it,
for even Rostropovich was surprised when
the composer pointed it out! The horn
is again featured, particularly toward the
end, when it proclaims, double forte, the
opening four-note figure with which the
concerto began.
Scored for solo cello; 2 flutes (the
2nd doubling piccolo); 2 oboes; 2
clarinets; 2 bassoons (the 2nd doubling
contrabassoon); horn; timpani, celeste and
strings.
© 2017 Claudia Jensen
32 SEATTLESYMPHONY.ORG
KEVIN AHFAT
Piano
As an artist that “leaves
no question about his
riveting presentation
and technical finesse”
(The Seattle Times),
Canadian-born pianist
Kevin Ahfat is
acclaimed to be
“poised to become one
of the young heirs of the classical piano
realm, with a bold, boundary-pushing,
millennial style matched by refined
execution” (Vanguard Seattle). He has
appeared as a multi-faceted solo and
chamber artist nationally and
internationally, collaborating with a wide
range of artists including Jean-Yves
Thibaudet, Joshua Roman, Paul Katz and
Ani Kavafian. Ahfat captured the First Prize
at the inaugural Seattle Symphony
International Piano Competition in 2015
and returns this season for the Seattle
Symphony’s 2017 Shostakovich Concerto
Festival. He also works as part of The
Juilliard Global Ventures team, developing
new digital interactive environments to
reach aspiring pianists across the globe.
Currently, Ahfat continues his studies at
The Juilliard School with Joseph
Kalichstein and Stephen Hough.
FROM THE ARTIST: “Words cannot sufficiently describe just
how thrilled and ecstatic I am to be back in
Seattle, so I’m hoping that the electrifying
musical energy of these fantastic works
will help convey my sentiments! It truly
feels like it was just yesterday that I was
anxiously but excitedly walking into
my first rehearsal with Ludovic and the
orchestra, and I can’t wait to return with
these two Shostakovich concertos that
have always been, in my opinion, quite the
underdogs of the piano concerto canon.
Both are seemingly compact but filled to
the brim with the composer’s trademark
sly personality, from the sardonic wit of
the First Concerto to the brilliant buoyancy
of the Second. One of my favorite
things about playing Shostakovich is
experimenting with just how far I can take
both his exuberance and his sarcasm, and
there are endless opportunities in both
concertos to do just that. I’m hoping to
keep the audience on their toes!”
Phot
o: A
rthu
r Moe
ller
DAVID GORDON
Trumpet
David Gordon, whose
playing has been
described as
“spectacular”
by The Chicago
Tribune, is Principal
Trumpet of the Seattle
Symphony and
Chicago’s Grant Park
Symphony Orchestra. As a soloist, Gordon
has appeared with the symphony
orchestras of Seattle, Grant Park and
Charleston, the National Repertory
Orchestra and the Lake George Chamber
Orchestra. As a guest, he has performed
as Principal Trumpet of the St. Louis
Symphony Orchestra, and has also
performed, recorded and toured as
Principal Trumpet of the London Symphony
Orchestra and as Trompette Solo of the
Orchestre Philharmonique de Radio
France. A native of Narragansett, Rhode
Island, Gordon was educated at Columbia
University and The Juilliard School. He was
recipient of The New York Times Company
National Merit Scholarship.
Phot
o: M
atth
ew K
urtis
Imag
es
EDGAR MOREAU
Cello
Born in 1994 in Paris,
Edgar Moreau began
playing the cello at the
age of 4 and the piano
at 6. He studied with
Philippe Muller at the
Conservatoire National
Supérieur de Paris, and
currently works with
Frans Helmerson at the Kronberg
Academy. “The rising star of the French
cello” consistently captivates audiences
with his effortless virtuosity and dynamic
performances” (Le Figaro Magazine).
Moreau won First Prize in the 2014 Young
Concert Artists International Auditions and
he is one of the European Concert Hall
Organization’s 2016–2017 Rising Stars.
Moreau has two critically acclaimed CDs
on the Erato (Warner Classics) label, one of
which earned him the Newcomer Prize at
the 2016 Echo Klassik Awards.
FROM THE ARTIST: “I love being on stage... Playing in front of
an audience is my way to disconnect from
reality. It’s why I’m practicing to control
everything until the time that I’m not myself
anymore because I’m already deeply in the
music. That’s a unique feeling and that’s
why performing is my job. The first time I
performed Shostakovich’s First Concerto
was with the Moscow Philharmonic in the
beautiful Tchaïkovski Hall in 2012 and the
first time I played the Second Concerto
was with Valery Gergiev and the Mariinski
Orchestra. Both times were an incredible
experience and since then, I’ve really liked
to play these pieces all over the world.
These two concertos are really different
but you can find the same main philosophy
in general in the Shostakovich music. It’s
very dark but with a lot of sarcasm. There
is a lot of violence, and a lot of sadness.
But I think there’s also some kind of hope.
That’s for me a picture of USSR at this time.
Looking forward to sharing the stage with
the Seattle Symphony and to discover the
city!”
Phot
o: M
att D
ine
encoreartsseattle.com 33
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 ©2017 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.
See an introduction to the Shostakovich
Concerto Festival on page 31.
DMITRI SHOSTAKOVICH
BORN: September 25, 1906, in St. Petersburg
DIED: August 9, 1975, in Moscow
Cello Concerto No. 2
WORK COMPOSED: 1966
WORLD PREMIERE: September 25, 1966, at the
Large Hall of the Moscow Conservatory, with
Yevgeny Svetlanov conducting the USSR State
Symphony Orchestra and Mstislav Rostropovich
as soloist.
Shostakovich’s Cello Concerto No. 2
was dedicated, like the first, to Mstislav
Rostropovich, but it also marked another
event, for it premiered at the Moscow
Conservatory on September 25, 1966, the
composer’s 60th birthday. The description
of this concerto by historian Malcolm
MacDonald summarizes Shostakovich’s
later style as a whole: the work, he says, is
“oblique, intimate, elegiac, filled with painful
radiance, bizarre humor, nostalgia and
regret.” It is, in other words, a work — and a
life — that contains multitudes.
It opens to a landscape of stillness,
gradually unfolding the full range of the
solo instrument. The ensemble increases
in density and pace, pausing to offer sweet
exchanges between the cello, harp and
horn. This builds to a brisk new thematic
idea, colored by the brittle sound of the
xylophone. An abrupt drum stroke changes
the mood, concluding with a flickering
review of the original musical ideas.
The second movement uses a tune from
the city of Odessa, “Kupitye Bubliki” (Buy my
bubliki — a kind of bagel-shaped bread); as
Shostakovich said, the song just “slipped
its own way” into the piece. It begins in
a jaunty mood, the tune stated clearly by
the soloist. The pace increases until the
horns and a sustained drum roll take over
with a mock fanfare. There is no break
between the second and third movements,
and this military battery introduces an
extended cello cadenza. To the ominous
accompaniment of the tambourine, the
soloist reviews melodic ideas from the
previous movements, and then transitions
into the last movement. Its two themes are
quite different, one featuring a pastoral
lyricism, the other more march-like, yet we
PROGRAM NOTES
Friday, January 20, 2017, at 8pm
SHOSTAKOVICH CONCERTO FESTIVAL IISPECIAL PERFORMANCES
Pablo Rus Broseta, conductor
Aleksey Semenenko, violin
Edgar Moreau, cello
Kevin Ahfat, piano
Seattle Symphony
DMITRI SHOSTAKOVICH Cello Concerto No. 2 in G major, Op. 126 33’ Largo Scherzo: Allegretto— Finale: Allegretto EDGAR MOREAU, CELLO
DMITRI SHOSTAKOVICH Piano Concerto No. 2 in F major, Op. 102 20’ Allegro Andante— Allegro KEVIN AHFAT, PIANO
INTERMISSION
DMITRI SHOSTAKOVICH Violin Concerto No. 1 in A minor, Op. 77 (99) 39’ Nocturne: Moderato Scherzo: Allegro Passacaglia: Andante— Burlesca: Allegro con brio ALEKSEY SEMENENKO, VIOLIN
Musician biographies may be found on page 32 & 33.
See pages 12–13 for a feature on Shostakovich.
34 SEATTLESYMPHONY.ORG
slip and slide between them, never sure
of our ground. Another percussion-cello
cadenza takes us into a reprise of the
“Bubliki” theme, menacing now, with violent
punctuating whip cracks. The work subsides
into a single long note by the soloist, with
rustling percussion ultimately dying out at
the end. As Elizabeth Wilson writes, the
effect “is not so much of an ending as an
unanswered question which hangs in frozen
suspense.”
Scored for solo cello; flute and piccolo;
2 oboes; 2 clarinets; 3 bassoons (the 3rd
doubling contrabassoon); 2 horns; timpani
and percussion; harp and strings.
Piano Concerto No. 2
WORK COMPOSED: 1957
WORLD PREMIERE: May 10, 1957, at the Large
Hall of the Moscow Conservatory, with Nikolai
Anosov conducting the USSR State Symphony
Orchestra and Maxim Shostakovich as soloist.
Shostakovich’s good-natured, compact
Piano Concerto No. 2 was written in
1957 and premiered that year by his son,
Maxim, who performed the work on his
19th birthday. Although Maxim may be
known best as a conductor, especially
as an interpreter of his father’s works, he
has always been active as a pianist; a few
years before composing this concerto,
Shostakovich wrote the Concertino for Two
Pianos also for Maxim.
The first movement offers abundant
thematic material delivered in a rapid-
fire pace. Although the composer’s son
performed the premiere, Shostakovich
himself often played the work, and in his
recordings, the already fast passages feel
even more propulsive and percussive. The
piano writing, particularly in the first and
third movements, features many passages
in octaves for both hands, growing in places
to rambunctiously pounded chords. The
lovely Andante, the second movement, is
warm and simple, with a singing melody
in the piano that proceeds throughout in
gentle, rocking triplets that move us directly
into the final movement, a complete change
of pace. The opening, almost fanfare-like
theme is set out with clockwork regularity
and an angular melodic profile. This sets
up a wonderfully jarring contrast with the
second major theme group, written in
groups of seven (which is why it may be
hard to tap your foot to this motif!). The
octave writing in the solo part comes into
full bloom in this movement, particularly
as we transition back to a restatement
of the opening material. But we never
really regain our rhythmic equilibrium,
as Shostakovich continues to tease us,
alternating various rhythmic groups so
that we are always slightly (if happily) off
balance, even when the familiar opening
theme returns.
Scored for solo piano; 2 flutes and piccolo;
2 oboes; 2 clarinets; 2 bassoons; 4 horns;
timpani, percussion and strings.
Violin Concerto No. 1
WORK COMPOSED: 1947–48
WORLD PREMIERE: October 29, 1955, at the
Large Hall of the Leningrad Philharmonic, with
Yevgeny Mravinsky conducting the Leningrad
Philharmonic Orchestra and David Oistrakh as
soloist.
Our festival ends, fittingly, with the Violin
Concerto No. 1, a work that occupies a
central place in Shostakovich’s career.
It was written during one of the most
harrowing periods of his life, in 1947–48,
during the series of post-War campaigns
aimed comprehensively at Soviet arts and
sciences. The infamous February 1948
decree condemning music and composers
was issued exactly as Shostakovich was
working on this concerto (the Passacaglia
movement, specifically), which he intended
for David Oistrakh. He finished it soon
thereafter, as Op. 77, but it was not
performed publicly for seven years, in 1955,
PROGRAM NOTES
when it was renumbered Op. 99. This
is the reason for the double listing on
our program, which gives priority to the
original date (and, thus, the circumstances)
of this composition.
The opening movement is called
Nocturne, a title used in musical works
to suggest the mood of the night: still,
calm, even unearthly. This is precisely
the feeling of this movement, with its
aria-like solo violin melody. Some of
Shostakovich’s favored approaches
appear here, with contrasts in register
(listen for the tuba and contrabassoon)
and in timbre or color (for example, the
harp and celeste, a combination we also
heard in the first cello concerto).
The calm is broken by the spiky and
propulsive second movement. This
movement gives listeners a hint of a
motivic device that Shostakovich would
use later, especially starting with his Tenth
Symphony (1953), a circling four-note
motif derived from his initials, spelled out
in musical notes. (The motif is suggested
here in the winding half-step intervals of
the melody.) The following movement
is a passacaglia, a form that uses a
repeating melodic statement that sounds
throughout. The melody begins in the low
strings and eventually passes throughout
the orchestra, with a reverberant
statement by the solo violin toward the
end. Here, too, the orchestral colors and
combinations are evocative, taking us
into a stunning cadenza that is truly a
meditation on our journey through the
previous movements; the four-note motif
sounds out clearly. We move directly into
the final movement, “Burlesque,” raucous
and relentless. An ironic reflection on the
passacaglia theme flashes by, distorted
by the woodwinds and xylophone and
forming a component of the final presto
section, with dizzying alternations
between the solo violin (echoing that
passacaglia motif) and the orchestral
ensemble.
Scored for solo violin; 3 flutes (the 3rd
doubling piccolo); 3 oboes (the 3rd
doubling English horn); 3 clarinets (the 3rd
doubling bass clarinet); 3 bassoons (the
3rd doubling contrabassoon); 4 horns;
tuba; timpani and percussion; celeste;
harp and strings.
© 2017 Claudia Jensen
It was written during one
of the most harrowing
periods of his life, in
1947–48, during the
series of post-War
campaigns aimed
comprehensively at
Soviet arts and sciences.
encoreartsseattle.com 35
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 ©2017 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.
Classical and NeoclassicalThe classical ideal in music, which
extols clarity, refinement, established
forms and sophisticated elegance,
found its most consistent expression
during the second half of the 18th
century. At this time, the precepts
of musical classicism informed
masterpieces by the leading composers
of the era, most notably Haydn and
Mozart.
Beginning in the second quarter of the
19th century, a new artistic outlook,
Romanticism, displaced Classical
precepts in the imaginations of most
composers. But in time, everything
old becomes new again. Just as the
Romantic movement arose as a revolt
against the rationalism and urbane
manner of the preceding era, so
musicians of the early 20th century
turned against what they deemed
the grandiloquence and excessive
emotionalism of Romanticism. In place
of those qualities, many composers
sought to recapture the lucidity and
grace they perceived in music of
the 18th century. To that end, they
deliberately reduced their instrumental
forces, adopted lean contrapuntal
textures and frequently employed
antique dance forms or other clear,
concise designs. Neoclassicism, as the
reaction came to be called, proved
an important strain of 20th-century
composition.
Our program draws on both the
Classical and Neoclassical traditions
within the orchestral literature. In the
first instance, we have a concerto by
Franz Joseph Haydn, an exemplary
practitioner of musical Classicism,
and a symphony by the young Franz
Schubert. We also hear a landmark of
20th-century Neoclassicism, Maurice
Ravel’s beautiful homage Le tombeau de Couperin. But we begin with a
piece that falls into neither of these
categories. Felix Mendelssohn’s musical
postcard from a trip to Scotland’s
northern islands uses the classic form
of a concert overture but fills that
venerable vessel with poetic melodies,
harmonies and orchestral colors very
much in the style of 19th-century
Romanticism.
PROGRAM NOTES
Thursday, January 26, 2017, at 7:30pm
Saturday, January 28, 2017, at 8:00pm
MENDELSSOHN & SCHUBERT
James Feddeck, conductor
Alexei Lubimov, piano
Seattle Symphony
FELIX MENDELSSOHN The Hebrides (“Fingal’s Cave”), Op. 26 10’
FRANZ JOSEPH HAYDN Piano Concerto in D major, H. XVIII:11 19’ Vivace Un poco Adagio Rondo all’Ungarese: Allegro assai ALEXEI LUBIMOV, PIANO
INTERMISSION
MAURICE RAVEL Le tombeau de Couperin 16’ Prélude Forlane Menuet Rigaudon
FRANZ SCHUBERT Symphony No. 5 in B-flat major, D. 485 26’ Allegro Andante con moto Menuetto: Allegro molto Allegro vivace
Pre-concert Talk one hour prior to each performance.
Speaker: Peter Schmelz, Associate Professor of Musicology in the School of Music
at Arizona State University.
This concert is supported by Sue and Robert Collett.
36 SEATTLESYMPHONY.ORG
FELIX MENDELSSOHN
The Hebrides (“Fingal’s Cave”), Op. 26
BORN: February 3, 1809, in Hamburg
DIED: November 4, 1847, in Leipzig
WORK COMPOSED: 1830–32
WORLD PREMIERE: May 14, 1832, in London,
conducted by the composer.
Anyone who has experienced youthful
adventures in a foreign land will appreciate
the sense of exhilaration, freedom
and discovery the 20-year-old Felix
Mendelssohn felt during his journey
through Scotland in the summer of 1829.
From London, where he had participated
in a series of concerts, the young musician
set out by coach and on foot, heading
north. In Edinburgh he visited old castles
and churches. By August he reached the
Hebrides Islands, enduring bad weather
and a bout of sea-sickness on the way.
There Mendelssohn sent a brief message
to his family back in Berlin: “In order to
make clear to you what a strange mood
came over me in the Hebrides, the
following just occurred to me.”
“The following” was a sketch of some 20
measures of music that proved the genesis
of a concert overture that Mendelssohn
called The Hebrides. The composer made
two drafts of this work during the ensuing
two years but was satisfied with neither.
“The ... development tastes more of
counterpoint than of whale oil and seagulls
and cod-liver oil,” he complained in a letter
in January, 1832, “and it ought to be the
other way around.” Not until November of
1832 did he succeed in shaping the piece
to his liking.
This composition fulfills with equal success
the requirements of descriptive music
and concert overture. From a formal
perspective, Mendelssohn deftly handles
the conventions of sonata design, with
statement, development and recapitulation
of the overture’s several themes all clearly
articulated. But it is the music’s imaginative
rather than formal attributes, particularly
its extraordinary evocation of motion and
space, that make this work so compelling.
WHAT TO LISTEN FOR: The opening
subject, with its short, searching phrases
and restlessly shifting harmonies, suggests
PROGRAM NOTES
encoreartsseattle.com 37
harmonies, its atmospheric textures and
its distinctive use of orchestral color could
hardly be the work of any other composer.
WHAT TO LISTEN FOR: The first
movement, Prélude, opens with a
rustling of woodwinds — specifically, a
running melody given out in a famously
challenging oboe solo. Other instruments
take up this theme in a game of flight and
pursuit. Forlane, the second movement,
uses the rhythm of the old dance from
which it takes its title, but its principal
melody, heard at once in the violins,
is decidedly modern in its angular
profile. The movement’s closing gesture, in
the violins, prefigures the opening bar of
the ensuing Menuet, in which a feeling of
restraint and nostalgia prevails. That tone
is swept away in the opening measures
of the Rigaudon, whose incisive phrases
and bright orchestration produce a spirited
effect.
Scored for 2 flutes and piccolo; 2 oboes
and English horn; 2 clarinets; 2 bassoons;
2 horns; trumpet; harp and strings.
FRANZ SCHUBERT
Symphony No. 5 in B-flat major, D. 485
BORN: January 31, 1797, in Vienna
DIED: November 19, 1828, in Vienna
WORK COMPOSED: 1816
WORLD PREMIERE: After a private reading
in Vienna in 1816, the first public performance
occurred on February 1, 1873, in London. August
Manns conducted the orchestra of the Crystal
Palace.
Schubert was not yet 20 when he
completed his Fifth Symphony, in the
autumn of 1816. Like so many of this
composer’s works, it was created for
the enjoyment of his musical friends.
Schubert participated in an amateur
chamber orchestra that met in the home
of a Viennese musician, Otto Hatwig,
and it was there that the Fifth Symphony
was first heard. The circumstance for
which Schubert composed this symphony
accounts for its comparatively slender
orchestration, and for the music’s intimate
character and Mozartean grace.
something of the “strange mood” that the
bleak islands instilled in the composer,
while the central development section
culminates in a brief but dramatic musical
storm. Mendelssohn recalls part of this
tempestuous music in the coda passage
that closes the piece, but he avoids the
cliché of a strong ending in favor of quiet,
haunting echoes of the initial motif.
Scored for pairs of winds, horns and
trumpets; timpani and strings.
FRANZ JOSEPH HAYDN
Piano Concerto in D major, H. XVIII:11
BORN: March 31, 1732, in Rohrau, Austria
DIED: May 31, 1809, in Vienna
WORK COMPOSED: 1784 or a bit earlier
WORLD PREMIERE: Unknown
Franz Joseph Haydn’s standing as one
of the finest composers of his day rests
securely on his symphonies and string
quartets, his keyboard sonatas, and
some splendid choral music. His several
keyboard concertos form a comparatively
little-known portion of his output. All but
one are early works of relatively slight
stature, and the exception, the Concerto
in D major we hear now, is not known
with absolute certainty to be Haydn’s
composition. This piece was published
under Haydn’s name in several cities
in 1784. That fact does not prove its
pedigree, however. During Haydn’s
lifetime, unscrupulous publishers attributed
many spurious compositions to the
composer as he grew increasingly famous.
Haydn scholars sensed a red flag
regarding the authenticity of this concerto,
since the original manuscript of the score
was lost and the composer neglected
to include the work in either of the
catalogues of his music he had drawn up
during his lifetime. Still, stylistic evidence
points strongly to Haydn’s authorship.
In addition, a letter the composer wrote
in 1787 to an English publisher offering
consignment of “a large keyboard
concerto” most probably refers to this
work, since Haydn produced none other
fitting that description after about 1770.
Haydn once declared: “I was a wizard at
no instrument, but I knew the strength
and working of all,” and his concerto
style is notable for its efficient use of solo
instruments rather than for conspicuous
virtuosity. It is an approach appropriate to
the composer’s lively and original musical
intelligence, which informs every page of
this D major concerto.
WHAT TO LISTEN FOR: The first of the
concerto’s three movements flows from
the cheery melody heard in its opening
measures, yet Haydn later concentrates
much of his attention on developing the
squarish three-note figure that closes
the first phrase of this theme. (The figure
bears a close resemblance to the one
that would provide such unexpected
jolts in the composer’s famous “Surprise”
Symphony.) Following a song-like middle
movement, the composition concludes
with a “Hungarian” rondo, so-called for
the seemingly exotic turns of phrase in its
recurring principal theme.
Scored for solo piano; 2 oboes, 2 horns
and strings.
MAURICE RAVEL
Le tombeau de Couperin
BORN: March 7, 1875, in Ciboure, southwest
France
DIED: December 28, 1937, in Paris
WORK COMPOSED: 1914–19
WORLD PREMIERE: February 28, 1920, in
Paris. The Orchestre Pasdeloup played under
the direction of René Baton.
We owe the next work on our program
to not one but two French composers:
Maurice Ravel, who wrote it, and François
Couperin (1668–1733), who stands behind
it as something of a guiding spirit. For
centuries, French musicians have used the
term “tombeau” to denote a composition
written to honor a deceased colleague.
The most famous modern instance of this
practice is by Ravel, whose Le tombeau de
Couperin pays homage to its namesake.
Ravel completed this piece in 1919,
conceiving it as a suite modeled on
the dance forms that underlie many of
Couperin’s harpsichord pieces. But while
evoking something of the spirit of 18th-
century music, Le tombeau de Couperin
is unmistakably in Ravel’s own manner.
Indeed, its pleasing but ever-surprising
PROGRAM NOTES continued
38 SEATTLESYMPHONY.ORG
WHAT TO LISTEN FOR: Schubert follows
the classic symphonic format of four
movements. The first opens with a scant
introduction before launching into its
principal subject, a winsome melody
enriched by discreet echoes in the
bass instruments. Soon a second theme
appears in the violins and quickly is taken
up by the woodwinds. Schubert’s inventive
development of these ideas frequently
involves combining fragments of each
theme in counterpoint.
The second movement forms the heart
of this symphony. Here Schubert treats
two themes in alternation, the first being
a lyrical idea introduced in the strings, the
second emerging from a series of yearning
woodwind phrases. The composer leads
these subjects across far-flung harmonic
terrain, their excursions making for one of
his most beautiful symphonic movements.
The minuet third movement, in the dark
tonality of G minor, is surprising in its
violence and recalls the corresponding
movement in Mozart’s Symphony No.
40, written in that same key. Schubert
balances its unexpected intensity with a
bucolic central episode. He then banishes
any lingering shadows with a bright and
high-spirited finale.
Scored for flute; 2 oboes; 2 bassoons;
2 horns and strings.
© 2017 Paul Schiavo
JAMES FEDDECK
Conductor
“A tremendous find…
Musicians of this calibre
are like gold dust” (The
Herald), American
conductor James
Feddeck is rapidly
becoming one of the
most interesting and
remarkable conductors
of today, impressing orchestras with his
outstanding musicianship on both sides of
the Atlantic. Winner of the prestigious Solti
Conducting Award in 2013, Feddeck was
Assistant Conductor at The Cleveland
Orchestra. He studied with David Zinman at
the Aspen Music Festival and School where
he received the Aspen Conducting Prize in
2008. Since then he has conducted many
world class orchestras including Chicago
Symphony Orchestra, Deustches Symphonie
Orchester Berlin and San Francisco
Symphony Orchestra. In addition to his
conducting, James Feddeck is an
accomplished organist and has performed
recitals throughout Europe and North
America. He studied oboe, piano, organ and
conducting at the Oberlin Conservatory of
Music and in 2010 was recognized as the
first recipient of the Outstanding Young
Alumni Award.
FROM THE ARTIST: “It is a great pleasure for me to join the
musicians of the Seattle Symphony for these
performances which mark my debut with
this orchestra. Each of these four musical
works is its own musical world and the
responsibility of performing such remarkable
creative statements is a humbling task. To
unite musicians under a singular vision for
the expression of the music is an exciting
and yet daunting mystery. It is what initially
inspired me to the craft of conducting
orchestras and it is what keeps my artistic
imagination thriving — that and the pure
limitless palate of color in sound. But
the most important component of any
performance is our audience, for that is the
very definition of a concert: the sharing of
music with others. To be that catalyst from
stage to audience, that too is an awe-
inspiring responsibility that I enthusiastically
embrace. Live orchestral music is a thrilling
and powerful force and one which uplifts
and unites.”
Phot
o: B
enja
min
Eal
oveg
a
ALEXEI LUBIMOV
Piano
Moscow-born Alexei
Lubimov is one of the
most strikingly original
and outstanding
pianists performing
today. Early in his
career he established a
dual passion for
Baroque music and
20th century composers ranging from
Schönberg to his contemporaries Sofia
Gubaidulina and Arvo Pärt. He premiered
many great 20th century pieces in Russia,
where authorities criticized his
commitment to Western music. That led to
his work in Early Music. He continues to
perform both “old” and “new” music in
performances and on many of his
recordings. Once political restrictions were
lifted, Lubimov emerged among the first
rank of international pianists, performing
throughout Europe, North America and
Japan. He has played concertos with many
of the leading orchestras of the world and
given recitals in the world’s great concert
halls, frequently with programs of unusual
thought and captivating repertoire: a
concert of Haydn under Sir Roger
Norrington, Pärt’s Lamentate in Vienna’s
Musikverein, or Prometeus by Scriabin at
the Salzburg Festival.
Alexei Lubimv’s numerous recordings have
been issued on the Melodia, Erato, BIS,
Sony, ECM and Harmonia Mundi label.
Since 2003 he has recorded regularly
for ECM, producing CDs of particular
note music of CPE Bach alongside
John Cage and Tigran Mansurian; Arvo
Pärt’s Lamentate; music of Stravinsky,
Shostakovich, Prokofiev and Scriabin;
and Misteriosos with music of Silvestrov,
Ustvolskaya and Pärt. ECM New Music
released his recording of Debussy
Preludes in 2012.
FROM THE ARTIST: “Haydn Concerto in D was always one
of my favorite pieces. I performed it on
harpsichord in the 1970s and ‘80s and on
modern piano for the past 10 years. The
most exciting performance to date was
with Sir Roger Norrington conducting at
Avery Fischer Hall in New York, when we
found several experimental performing
methods similar to folk music.”
Phot
o: F
ranc
ois
Sech
et
encoreartsseattle.com 39
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 ©2017 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.
Friday, January 27, 2017, at 7pm
SCHUBERT UNTUXEDUNTUXED SERIES
James Feddeck, conductor
Jonathan Green, host
Seattle Symphony
FELIX MENDELSSOHN The Hebrides (“Fingal’s Cave”), Op. 26 10’
FRANZ SCHUBERT Symphony No. 5 in B-flat major, D. 485 26’ Allegro Andante con moto Menuetto: Allegro molto Allegro vivace
James Feddeck’s biography may be found on page 39.
Audience Development supported by The Wallace Foundation.
40 SEATTLESYMPHONY.ORG
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Performance ©2017 Seattle Symphony. Copying of any performance by camera, audio or video recording
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PROGRAM NOTES
The Ukrainian composer Valentin
Silvestrov (b. 1937) studied at the
conservatory in his native Kiev from 1958
to 1964, a time when Soviet composers
faced continuing pressure to work
within accepted Socialist styles. In early
compositions such as the Elegy for solo
piano from 1967, his experiments with
12-tone composition and other thorny
techniques placed him squarely against
the establishment. His style has softened
over the years, but as he approaches the
age of 80 he remains a committed change
agent in Ukraine, inserting his musical
voice into the recent political turmoil.
Born in the Soviet republic of Azerbaijan,
Alexandre Rabinovitch-Barakovsky (b.
1945) studied piano and composition at
the Moscow Conservatory. Even before
he left the Soviet Union in 1974, he was
experimenting with techniques that
paralleled the Minimalist style being
developed in the United States by
Philip Glass, Steve Reich and others. He
continued to explore these directions after
settling in Switzerland, as can be heard in
Récit de voyage from 1976.
“Two years had gone by since I emigrated
from the Soviet Union,” Rabinovitch-
Barakovsky explained in a program note.
“This realization made me reflect over
the hidden meaning of the parable of
the prodigal son in the Gospel according
to St. Luke.” To develop this theme, he
referenced three past composers and
excerpts that he described as “poles of
attraction.” The first was the “call-motif”
from Beethoven’s Piano Sonata in A major,
Op. 101, which Rabinovitch-Barakovsky
characterized as “a musical allegory of
the incitement to travel.” The second
was Schubert’s Wanderer Fantasy, Op.
15, which provided both the “obsessive
rhythm … symbolizing the journey itself”
and also another motive “representing
a state of extreme emotional confusion.”
Finally he included the iconic chords
from Wagner’s Tristan und Isolde; in Récit
de voyage “this motif of Tristan appears
distorted and grimacing.”
The amplified ensemble incorporates a
profusion of pitched percussion along
with celeste and piano, giving the
textures a crisp, clock-like momentum.
The outliers are the violin and cello, with
their ability to play all the pitch gradations
between the fixed “black” and “white”
Friday, January 27, 2017, at 10pm
[UNTITLED] 2[UNTITLED] SERIES
Alexei Lubimov, piano | Mary Lynch, oboe | Chengwen Lai, oboe |
Rob Tucker, percussion | Jessica Choe, celeste | Natasha Bazhanov, violin |
Brittany Boulding, violin | Artur Girsky, violin | Mikhail Shmidt, violin |
Sayaka Kokubo, viola | David Sabee, cello | Joseph Kaufman, double bass
VALENTIN SILVESTROV Elegy 5’ ALEXEI LUBIMOV, PIANO
ALEXANDRE Récit de voyage 22’RABINOVITCH-BARAKOVSKY MIKHAIL SHMIDT, VIOLIN DAVID SABEE, CELLO ROB TUCKER, PERCUSSION ALEXEI LUBIMOV, PIANO JESSICA CHOE, CELESTE
GALINA USTVOLSKAYA Octet 20’ q = 66— q = 80 q = 69 q = 132— q = 48 MARY LYNCH, OBOE CHENGWEN LAI, OBOE ARTUR GIRSKY, VIOLIN NATASHA BAZHANOV, VIOLIN MIKHAIL SHMIDT, VIOLIN BRITTANY BOULDING, VIOLIN ROB TUCKER, PERCUSSION ALEXEI LUBIMOV, PIANO
PAVEL KARMANOV The City I Love and Hate 30’ ALEXEI LUBIMOV, PIANO ARTUR GIRSKY, VIOLIN NATASHA BAZHANOV, VIOLIN SAYAKA KOKUBO, VIOLA DAVID SABEE, CELLO JOSEPH KAUFMAN, DOUBLE BASS
Musicians’ biographies may be found at seattlesymphony.org or on the
Listen Boldly app.
[untitled] is generously supported by the Judith Fong Music Director’s Fund. Audience Development supported by The Wallace Foundation. Media Sponsor: secondinversion.org
42 SEATTLESYMPHONY.ORG
PROGRAM NOTES
notes. At the beginning and end, the
two string players execute fluid slides,
their irrational pitches and rhythms
contradicting the orderly patterns and
radiant chords from the rest of the group.
Throughout Récit de voyage, ideas morph
and migrate in gradual but unexpected
ways. Compared to his American
contemporaries, Rabinovitch-Barakovsky
was pursuing a more expressive and
philosophical application of Minimalist
techniques, and the travel story of Récit
de voyage provided a perfect platform for
that musical wanderlust.
Galina Ustvolskaya (1919–2006) was a
student of Shostakovich at the Leningrad
Conservatory from 1939 to 1947, and yet
in a letter to her he professed, “It is not
you who are influenced by me; rather it
is I who am influenced by you.” Despite
a limited output that amounted to fewer
than 30 serious works, Ustvolskaya forged
one of the most distinctive voices of the
20th century. Her enduring nickname,
first applied by a Dutch critic, captures the
intensity of a sound and attitude that is all
the more appreciated today: She was and
remains “the lady with the hammer.”
Ustvolskaya’s style had already crystallized
by the time she composed an Octet in
1950 for the unusual combination of two
oboes, four violins, timpani and piano.
The plaintive oboe melodies and smooth
violin slurs of the first section show off
her gentler side, with phrases that seem
rooted in Russian speech and song, much
like the modal themes of early Stravinsky.
The slightly faster second section is
exactly the kind of music that earned
Ustvolskaya her title as “the lady with
the hammer.” The music progresses
in unrelenting quarter-notes, and the
dynamic markings keep the players
pushed toward their loudest extreme.
Two-note clusters and even four-note
chords from the timpani impart a pounding,
ritualistic fervor.
The third section moves to the opposite
extreme, with the oboes and muted violins
contributing only ghostly wisps of phrases.
Still the unwavering quarter-notes hammer
on, with the timpani providing a pulsing
counter-melody.
The fast fourth section feels related to
Shostakovich’s dark sense of humor,
except here the delivery is so stark that it
would seem equally appropriate to laugh
or cry. The fifth and final section hardly
resolves the conflict; instead it sets up a
battle between two disconnected worlds,
one marked by slow and quiet lyricism, the
other shuddering with rat-a-tat repetitions
from the timpani.
Pavel Karmanov (b. 1970) moved to
Moscow as a student during the Soviet
years, and he has remained there since,
leading a diverse and successful career.
Besides composing concert music, he
also creates scores for television shows
and advertisements, performs as a pianist
and flutist, and plays with a well-known
rock band.
Karmanov composed this score for piano,
two violins, viola, cello and bass in 2012. As
he explained in the liner notes for a recent
recording, “The creation of the sextet The
City I Love and Hate was initiated by my
friend and fellow pianist, Alexei Lubimov.
It is about my city — Moscow, where I’ve
lived for almost 40 years. I love this place.
But, each time I return to it from other
places, I hate it for the suffocating smog;
for the snow, black from dirt and chemicals;
for the grim faces of passersby and for
the fact that the changes in its external
appearance are not always for the better.
Soon, this feeling passes and I once more
start enjoying the architecture, friends, and
time with my family. Again I love Moscow
for what it is.”
The City I Love and Hate unfolds in one
continuous span lasting close to half an
hour. In the outer sections, an asymmetrical
groove constructed with seven beats per
measure provides a steady and restless
forward drive. At the beginning the delivery
is patient and meditative, with a character
that is part Bach Prelude, part pop ballad.
After a gradual buildup and dissipation, a
contrasting section enters with music that
channels a Renaissance viol consort. When
the earlier seven-beat pattern returns in the
plucked strings, it begins a long surge that
grows toward a raucous, bluesy climax. A
delicate conclusion brings back nostalgic
echoes from the work’s opening passage.
© 2017 Aaron Grad
ALEXEI LUBIMOV
Piano
Alexei Lubimov’s
biography may be
found on page 39.
FROM THE ARTIST: “I am a personal
friend and regular
performer of each
of the three contemporary Russian
composers — Galina Ustvolskaya,
Alexander Rabinovitch-Barakovsky and
Pavel Karmanov. I have performed their
music since the early 1990s. Works by
Ustvolskaya and Rabinovitch are always a
strong experience for me; travel through
unknown musical landscapes. This
music, although very different, has deep
emotional content and an absolutely
personal universe and language. The
works are like rituals bringing the listener
to some central point of astonishment
and understanding. Karmanov’s works are
reflections on the music of Steve Reich
and John Adams. They are accessible
to a broad audience, and always have
a strong tonal construction and melodic
charm.”
Phot
o: F
ranc
ois
Sech
et
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PRINCIPAL BENEFACTORS
The Seattle Symphony acknowledges with gratitude the following donors who have made lifetime commitments of more than $1 million as of November 28, 2016.
4CultureDr.* and Mrs. Ellsworth C. Alvord, Jr.Andrew W. Mellon FoundationArtsFundArtsWABeethoven, A Non Profit Corporation/
Classical KING FM 98.1Alan BenaroyaSherry and Larry BenaroyaThe Benaroya FamilyBill & Melinda Gates FoundationThe Boeing CompanyC.E. Stuart Charitable FundCharles Simonyi Fund for Arts and SciencesLeslie and Dale ChihulyThe Clowes Fund, Inc.Priscilla Bullitt Collins*Jane and David R. DavisDelta Air LinesEstate of Marjorie EdrisJudith A. Fong and Mark WheelerThe Ford FoundationDave and Amy FultonWilliam and Melinda GatesLyn and Gerald GrinsteinLenore HanauerDavid J. and Shelley HovindIllsley Ball Nordstrom FoundationKreielsheimer FoundationThe Kresge FoundationMarks Family FoundationBruce and Jeanne McNaeMicrosoft CorporationMicrosoft Matching Gifts ProgramM.J. Murdock Charitable TrustNational Endowment for the ArtsNesholm Family FoundationThe Norcliffe FoundationPONCHOJames and Sherry RaisbeckGladys* and Sam* RubinsteinS. Mark Taper FoundationJeff and Lara SandersonSeattle Office of Arts & CultureSeattle Symphony FoundationSeattle Symphony Women’s AssociationLeonard and Patricia ShapiroSamuel* and Althea* StroumDr. Robert WallaceJoan S. Watjen, in memory of Craig M. WatjenVirginia and Bagley* WrightAnonymous (6)
*In Memoriam
GUEST ARTISTS CIRCLE
The following donors have generously underwritten the appearances of guest artists this season.
Andrew Bertino-Reibstein, in memory of David Reibstein
Judith Fong Music Director’s FundIlene and Elwood HertzogHot Chocolate FundDana and Ned LairdPaul Leach and Susan WinokurDr. Pierre and Mrs. Felice LoebelSheila B. Noonan and Peter M. HartleyNordstromJames and Sherry RaisbeckGrant and Dorrit SaviersMartin Selig and Catherine Mayer
PRINCIPAL MUSICIANS CIRCLE
The following donors have generously underwritten the appearances of principal musicians this season.
Sue and Robert CollettWilliam and Janice EtzoldMuriel Van Housen and Tom McQuaidPatricia and Jon RosenAnonymous
SYMPHONY MUSICIANS CIRCLE
The following donors have generously sponsored a section musician this season.
Dr. C. BansbachStephen Elop and Susan JohannsenMichael King and Nancy NeraasDr. Ryo and Kanori KubotaMr. and Mrs. Richard MooreThe Nakajima FamilyCookie and Ken NeilGary and Susan NeumannMelvyn and Rosalind PollJane and James RasmussenNorm and Elisabeth Sandler/The Sandler FoundationSeattle Met
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 November 28, 2016. If you have any questions or would like information about supporting the Seattle Symphony, please visit us online at seattlesymphony.org/give or contact Donor Relations at 206.215.4832.
Thank you for your support. Our donors make it all possible!
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Frank and Phyllis Byrdwell ^Mary and Patrick CallanApril Cameron 5
Karen CameronCorinne A. CampbellCraig and Jean Campbell 15
Elizabeth M. CampbellWally and Sally CampbellJanitta and Bob CarithersCory CarlsonCarol and John Austenfeld
Charitable Trust 5
Benjamin CarrEmily Carroll 5
Kent and Barbara Chaplin 10
Michael and Gayle Charlesworth 5 M
Jorge ChavezMr. James Chesnutt 5
Michelle and Abhineet ChowdharyJoshua D. ClossonSam and Karen CoeMr. Peter Cohen and Ms. Bettina StixEllen and Phil Collins 15
Mr. and Mrs. Frank ConlonPeter and Lori Constable M
The Honorable Dow Constantine and Ms. Shirley Carlson
Herb and Kathe Cook 5
Richard Cuthbert and Cheryl Redd-Cuthbert
Russell Daggatt and Gemma Valdez Daggatt
Robert Darling 5
Tatiana Davidson 5
Dr. Bob Day 5
Margaret and Lou Dell’OssoBrooke Benaroya DicksonAnthony DiReDwight and Susan Dively 5
Anne and Bob DoaneEverett and Bernie DuBois 10
Ken Duncan and Tanya Parish 5
Jeff Eby and Zart Dombourian-Eby 5
Mr. Scott Eby 5 M
Dr. Lewis and Susan EdelheitLeo and Marcia Engstrom 5
Mr. David EpsteinMary and Geoffrey EvansDr. and Mrs. R. Blair Evans 10
Randi FatizziAl Ferkovich and
Joyce Houser-Ferkovich 15
Maria Ferrer MurdockJerry and Gunilla Finrow 15
Gerard FischerAshley Myers and Andrew Fitz GibbonPatty FleischmannDebra and Dennis FloydBarry and JoAnn FormanPaula FortierDana A. FrankMs. Janet Freeman-Daily 10
Ed and Kathy FriesTerri and Joseph Gaffney 5
Ruth and Bill* Gerberding ^ 5
Janice A. and Robert L. Gerth 15
James and Carol Gillick ^ 10
Jeffrey and Martha Golub 10
Mary Lee GowellMaridee Gregory 5 M
Julie GulickMr. and Mrs. David Hadley 10
Bruce HaldaneMary Stewart Hall 10
James and Darlene HalversonLeslie and Nick HanauerDeena C. HankeDr. and Mrs. James M. Hanson 5
Katrina HarrisSusan and Tom HarveyMary HeckmanDr. and Mrs. Robert M. Hegstrom 5
Mike and Liz HiltonSuzanne HittmanBob HoelzenNorm Hollingshead 5
Bob Holtz and Cricket Morgan 5
Margaret and Marc HortonCarole and Rick HorwitzGretchen and Lyman* Hull 15
Joni Scott and Aedan Humphreys M
Sara HurleyRichard and Roberta Hyman 5 M
Joyce and Craig JacksonRalph E. Jackson 15
Eric Jacobs
Randy Jahren 5
Mr. and Mrs. Jerry JanacekMegan Hall and James Janning + 5 M
Lawrence JenRobert C. Jenkins 5
Clyde and Sandra Johnson 5
Rodney J. JohnsonChristy Jones and Rob LillenessNeil and Ciara JordanShreya JosephZagloul Kadah 5
Gretchen Kah 5
Suzanne and Steve KalishPeter KellySean and Lisa Kelly 5
Michael and Mary Killien 15
Ragan and Ed KimDouglas F. King 15
Karol King 5
Virginia King 5
Carolyn and Robert KitchellPeter and Susan KnutsonVera KochAllan and Mary KollarBrian and Peggy Kreger 15
Dr. and Mrs. Alvin Kwiram 10
Eric Lam 5
Ron and Carolyn Langford 15
Peter M. Lara 15
J&J Latino O’ConnellDr. Gordon D. LaZerte 5
Gregory and Mary Leach 15
Virginia and Brian Lenker 10 M
Don and Carla Lewis 5
Erica Lewis and Richard Erickson, Seed Fund of Greater St Louis Community Foundation
Henry LiJames Light 5
Michael Linenberger and Sallie DaceyMark Linsey and Janis TraverRobert and Marylynn Littauer 5
Sharon LottLovett-Rolfe Family TrustFo-Ching Lu and Andrew RobertsSusan and Jeff LubetkinBryan Lung 5
Douglas MacDonald and Lynda MapesMichael and Barbara MaloneMary Ann and Ted MandelkornMark Litt Family DAF of the Jewish
Federation of Greater Seattle 5
Anne and Karl MarlantesMarcia MasonCharles T. Massie 15 M
Erika and Nathan MattisonFlorence and Charlie MayneMichael and Rosemary Mayo 15
Doug and Joyce McCallumJohn and Gwen McCawAshley McDougallDiane and Scott McGeeHughes and Kelley McLaughlin M
Karen and Rick McMichael 15 M
Mary McWilliams 10
Mary Mikkelsen 15
Ronald Miller and Murl Barker 5
Bill and Shirley* Miner 5
46 SEATTLESYMPHONY.ORG
SEATTLESYMPHONY.ORG/GIVE | 206.215.4832
JOIN MARIA BY MAKING YOUR GIFT FOR SYMPHONIC MUSIC TODAY! Programs like the one you are about to enjoy are only possible through the support of
generous music-lovers like you.
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“As a little girl I got trapped in the beautiful melodies of ‘classical’ music, but Ludovic’s choices of new music encourage me to listen more deeply, discovering new and exciting sounds in the music. This is what ‘Listen Boldly’ means to me, and I give because I want others to revel in this wonderful, mind-opening world of music.” – Maria, Symphony supporter, subscriber, usher and lifelong music-lover
SEATTLE SYMPHONY DONORSSEATTLE SYMPHONY DONORS
Laurie Minsk and Jerry DunietzChie Mitsui M
Charles Montange and Kathleen Patterson 15
Alex and Nayla MorcosMary and Alan MorganChristine B. Moss 15
Donald and Shirley Mottaz 5
Kevin Murphy 15
Mr. and Mrs. J. P. Naughton 15
Paul Neal and Steven Hamilton 5 M
Kirsten Nesholm 5
Marilyn Newland 5
Eric Noreen and Suzi HillKen and Pearl NoreenSharon L. NorrisMary OdermatTim O’KeefeMrs. Jackie A. O’Neil 5
Phillip O’ReillyLeo Ortiz and Adriana AguirreThomas and Cynthia Ostermann 10
Richard and Peggy OstranderMeg Owen 5
Dena and Tom OwensDavid and Gina PankowskiRichard and Sally ParksPAS Financial PlanningAllan and Jane Paulson 15
Perspectives of New MusicJasen PetermanLisa Peters and James HattoriThomas PfenningStewart PhelpsDon and Sue PhillipsStephen PhinnyValerie and Stanley PihaPrairie FoundationLori and Bill PriceMrs. Eileen Pratt Pringle 15
Llewelyn G. and Joan Ashby Pritchard ^ 15
Harry* and Ann PrydeAnn Ramsay-JenkinsPaul and Bonnie RamseyMary C. Ransdell and Keith WongRobert F. Ranzenbach 10
Reverend Kerry and Robin Reese 10
Jean A. Rhodes 5
Fred Richard 15
John Richardson II 5
Deborah and Andrew Rimkus 5
Melissa RivelloMs. Jean C. Robinson 5
Mike RobinsonJack Rodman and Koh ShimizuJoseph L. RomanoStan and Michele RosenDr. Len and Gretchen Jane RosoffMichelle and Jerry RubinDon and Toni Rupchock 15
David Sabee and Patricia Isacson Sabee
Sarah and Shahram SalemyMatthew SalisburySara Delano Redmond FundKate and Matthew ScherDr. and Mrs. Jason Schneier 5
Mr. and Mrs. Joseph SchockenJudith Schoenecker and
Christopher L. Myers 5
Susan Schroeter-Stokes and Robert Stokes 5
Nancy and James Schultz + 5
Janet Sears 10
Janet and Thomas Seery 10
Tanya and Gerry Seligman 5
Anne Shinoda-MettlerCharles Shipley 15
Robert and Anita ShoupWilliam ShumanDr. Charles Simrell and Deborah Giles 10
Mika and Jenny Sinanan 5
Jill SinghRandip SinghDouglas Smith and Stephanie Ellis-SmithJoan SmithStephen and Susan SmithHarry SnyderKathleen and Robert SpitzerDoug and Katie Sprugel 5
Donald and Sharalyn StabbertDr. and Mrs. Robert Stagman 15
Craig and Sheila SternbergSteve and Sandy Hill Family Fund at the
Seattle Foundation ^ 15
Diane Stevens 5
Ms. Heather L. Stotz 5
Hope and Richard StrobleAudrey and Jim* Stubner 15
Victoria Sutter 5
Lina and Lino TagliapietraDavid Tan and Sherilyn Anderson-TanMabel and Jason TangBob and Mimi Terwilliger 10
Meryl and Donald* Thulean 15
Barbara ToberVahe TorossianKirsten and Bayan Towfiq ° 5
Elaine TsaiLorna TumwebazeDolores Uhlman 15
Sami Uotila and Tuula RytilaManijeh Vail 5
Gretchen Van Meter 15
Johanna P. VanStempvoort 15
Mary Lou and Dirk van WoerdenKaroline VassTara and John VerburgDonald J. VerfurthDoug* and Maggie Walker 5
Ralph and Virginia Wedgwood 15
Ed and Pat Werner 5
Greg Wetzel 5
Judith A. Whetzel 5
Roger and June Whitson M
Mitch WilkMichael WinterMr. Eric Wong 5
Jessie and David Woolley-WilsonElizabeth and Troy WormsbeckerJerry and Nancy Worsham 10
Talia Silveri WrightEsther WuLee and Barbara Yates 15
Mrs. Sarah Yeager 5
Maeng-Soon Yu 10
Robert and Eileen Zube 5
Anonymous (21)
5 years of consecutive giving10 10 years of consecutive giving15 15 years or more of consecutive givingM Monthly Sustaining Donor Musiciano Board Member^ Lifetime DirectorÆ 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!
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 November 15, 2015 and November 28, 2016. Please contact Donor Relations at 206.215.4832 or [email protected] if you would like to recognize someone in a future edition of Encore.
Jennifer Adair, byMichelle Hamilton
John Adams, byMr. Roy Hughes
Afman, byVarun Chhabra and Natasha Gupta
Claire Angel, byLyn and Gerald GrinsteinMikal and Lynn ThomsenAndrea Wenet
Jared Baeten and Mark Ruffo, byEugene Brown
Becky Benaroya, byHarold MatznerBeverly Schoenfeld
The Cello Section, Betty Graham
Stella Chernyak, byDavid Gaglione
Leslie Chihuly, byThe Sam and Peggy Grossman Family
FoundationNorm HollingsheadDr. Pierre and Mrs. Felice LoebelHarold MatznerThe M. C. Pigott FamilyMatt StevensonBarbara ToberSu-Mei YuAnonymous
Marianne Cole, byMitzi Cieslak
Rosalie Contreras, byRobert Haeger
Joseph Crnko and the Seattle Symphony Chorale, by
Norm HollingsheadSandra and James Taylor
Samantha DeLuna, byMegan Hall and James Janning
Will Dixon and Jay Picard, byDavid Gaglione
Zart Dombourian-Eby, byMs. Marilyn E. Garner
Emily Evans, byEllen Hope
Dr. Daniel Feller, byJeffrey Girardin
Jonas Flueckiger, byShon Schmidt
Steve Frank’s 75th Birthday, byPatricia and Jon Rosen
Janice A. Gerth, Robert Gerth
Nancy Page Griffin, byMina Miller and David SabrittMichael Schick and Katherine Hanson
Augustin Hadelich, byNorm Hollingshead
Patty Hall, byMichael and Kelly Hershey
Lenore Hanauer, byPenelope Burke
Harald and Jenny Hille, friends of Ludovic Morlot, by
Margaret and Andrew Gordon
Glen and Ann Hiner, byEugene Leibowitz
Leila Josefowicz, byNorm Hollingshead
Karneia, byAllen R. Schwerer
Sherri King, byVince Koester
Zhenlun Li, byEsther Wu
Dr. Pierre and Mrs. Felice Loebel, byMarilyn LaytonDr. and Mrs. Larry Martin
Virginia Hunt Luce, byTom Luce
Hayley Lyons, bySue Lyons
Reid and Marilyn Morgan, byMr. and Mrs. Bill Bonnett
Ludovic Morlot and the Seattle Symphony, by
Norm HollingsheadMartine and Dan DrackettAnonymous
Nu.Mu.Zu, byScott Siken
Llewelyn Pritchard, byMr. and Mrs. Thomas Olson
The Oboe Section, byMark Linsey and Janis Traven
Sue and Tom Raschella’s50th Wedding Anniversary, byBob and Clodagh AshJennifer ConnorsJeffrey PhillippeJohn Phillippe
Jon Rosen, byJoe and Linda Berkson
48 SEATTLESYMPHONY.ORG
SEATTLE SYMPHONY DONORS
Bernice Rind, byBob and Clodagh AshHoward Moss and Pauline ShapiroDavid and Julie PehaKay Zatine
Michael Schmitt, byBarbara Schlotfeldt
Seattle Symphony Volunteers, byKen Abramson and Helen Santibanez
Richard and Barbara Shikiar, bySandra Smith
Peggy Spencer, byNancy McConnell
Betsy and Gary Spiess, byLing Chinn
Tuning Up!, byRoy L. Hughes
[untitled], byNorm Hollingshead
Karla Waterman, byKay H. Zatine
Kathleen Wright and Martin Greene, byJoel PaisnerPatricia and Jon Rosen
Julie Wotruba, byDavid Gaglione
MEMORIAL GIFTS
Gifts were made to the Seattle Symphony to remember those listed below between November 15, 2015 and November 28, 2016. For information on remembering a friend or loved one through a memorial gift, please contact Donor Relations at 206.215.4832 or [email protected].
Jane and Don Abel, byThe Abel Family Fund David Anderson, byJulie L. Antle-Anderson
Arval, byDr. L. Newell-Morris
Wanda Beachell, byE. A. Beachell
Bill Beery, byMadeline Beery
Jack Benaroya, byLeslie and Dale Chihuly
Rose and Richard Bender, byAlan Cordova
Donald Benedict, byDr. Charles Higbee
Gertrude Bergseth, byConstance Trowbridge
Beatrice and Arlene Berlin, byJanice Berlin
Donald W. Bidwell, MD, bySharon Bidwell
Grandma Bosma, byAndrew Emory
Bev Bright, byRita Gray
Frederic Chopin, byXiaoxia Zhou
Lydia Christofides, byGerald B. Folland
Dr. Alexander Clowes, byCharles Alpers and Ingrid PetersonBob and Clodagh AshDr. and Mrs. Forrest BennettMardi and Frank BowlesButler’s Hole FundBarbara A. CahillDrs. Lihua Chen and Yihua XiongLeslie and Dale ChihulyDr. Susan DetweilerDan and Nancy EvansDavid and Dorothy FlukeDr. Kennan H. HollingsworthBecky KowalsJohn and Nancy LightbodyJack and Sandy McCulloughC. Gardner McFall and Peter OlbergJohn and Laurel NesholmSheila B. Noonan and Peter M. HartleyLaird Norton Wealth ManagementCarolyn and Michael PattersonSusan PazinaMelvyn and Rosalind PollSue and Tom RaschellaPatricia and Jon RosenDr. and Mrs. Gilbert J. RothThe Seattle Commissioning Club Eve Gordon Anderson and Mark
Anderson Roy and Laura Lundgren Dr. Alan and Mary Morgan Patricia Tall-Takacs and Gary TakacsKen Shapero and Dianne AprileDoug and Katie SprugelCraig and Sheila SternbergLinda StevensNeal B. Abraham and Donna L. WileyAnonymous
Kent Coleman, byJan Coleman
S. Patricia Cook, byCapt. Charles Cook
Lucy J. Ding, byPaula Ding
Jackie Davenport, byNadine Miyahara
Lucy J. Ding, byPaula Ding
Martha Donworth, byChristine Marshall
Doris Dwyer, byJeffrey W. Smith
Eugene Fisher, byGayden F. CarruthCascade Designs, Inc.
Wesley Fisk, byRenate Stage
Donald Isle Foster, byKaren LabandSheila B. Noonan and Peter M. Hartley
Beulah Frankel, byGinny Gensler
Shirley H. Fuller, byMarise and Randy Person
William Gerberding, byLeslie and Dale ChihulyMr. and Mrs. David L. FlukeDr. Kennan H. HollingsworthLlewelyn G. and Joan Ashby Pritchard
Booker T. Gibson, byPatricia and Jon Rosen
Billie Grande, byPatricia and Jim Davis
Allan Granquist, bySteven Lundholm
Grandma Bosma, byAndrew Emory
Bertram H. Hambleton, byGinger CampopianoJill PalmerVirginia Park
Bill Hirschfeld, byMarjorie J. LevarPhyllis Stern
Joseph Hylland, byRebecca Benson
David Howe, byMary HoweJane Qualia
Suzie Johnston, byEdgar and Linda Marcuse
Milton Katims, byPamela Katims Steele
Yun-Kuk Kim, byDouglas Kim
Marcy Krueger, byAmanda Budde-Sung
Laurence Lang, byRosalie Lang
Carolyn and Leroy Lewis, byLeslie and Dale Chihuly
Fridolf N. Lundholm, bySteven Lundholm
Ginny Meisenbach, byLeslie and Dale Chihuly
William Joseph Nazzaro, byMary Nazzaro
Merlyn A. Nellist, byDonna Nellist
John J. and Gertrude M. Rangstrom, byJon Fourre
David Reibstein, byAndrew Bertino-Reibstein
Sam and Gladys Rubinstein, byLeslie and Dale Chihuly
Carole Sanford, byHorizon House Supported Living
Herman Sarkowsky, byLeslie and Dale ChihulyDavid and Dorothy FlukeLlewelyn G. and Joan Ashby Pritchard
Walter Schoenfeld, byLeslie and Dale Chihuly
Allen Senear, byReid and Marilyn Morgan
Julia Shaw, byBob and Clodagh AshSue and Tom Raschella
Amy Sidell, byJohn and Laurel NesholmSue and Tom Raschella
Nancy Simek, byWilliam and Janice Etzold
Sam and Althea Stroum, byLeslie and Dale Chihuly
James Stubner, byBob and Clodagh AshBucknell Stehlik Sato & Stubner, LLPLeslie and Dale ChihulySue and Robert CollettDoug and Gail CreightonCousins Pam, Tim, Terry and Julie, and
Uncle Ron CollinsCarol B. GoddardRobert and Rhoda JensenKen KataokaJohn KingRichard* and Beverly LuceNatalie MalinDoug and Joyce McCallumDustin MillerReid and Marilyn MorganCarole NaritaKenneth and Catherine Narita, Kimberly
and Andy Absher, Karen and Steve Shotts, and Kristen Narita
Leona NaritaRuby NaritaLlewelyn G. and Joan Ashby PritchardSue and Tom RaschellaKathleen SesnonPatricia Tall-Takacs and Gary TakacsThe Urner FamilyJohn WalcottMary and Findlay WallaceWiatr & AssociatesMarjorie WinterRichard and Barbara WortleyKay Zatine
Don Thulean, byTodd Gordon and Susan FederReid and Marilyn MorganJohn and Laurel NesholmSheila B. Noonan and Peter M. HartleyLlewelyn G. and Joan Ashby PritchardSue and Tom RaschellaJennifer Schwartz
Katie Tyson, byElizabeth Faubell
John L. Voorhees
B. K. Walton, byPenelope Yonge
Brian Weiss, bySue EriksenDina JacobsonLars Sorenson
encoreartsseattle.com 4949 SEATTLESYMPHONY.ORG
$5 MILLION +
The Benaroya FamilyCharles Simonyi Fund for Arts and SciencesAnonymous (1)
$1,000,000 – $4,999,999
Leslie and Dale ChihulyThe Clowes Fund, Inc.Priscilla Bullitt Collins*Judith A. FongThe Ford FoundationDave and Amy FultonKreielsheimer FoundationMarks Family FoundationEstate of Gladys and Sam RubinsteinLeonard and Patricia ShapiroSamuel* and Althea* StroumDr. Robert Wallace
$500,000 – $999,999
Alex Walker III Charitable Lead TrustMrs. John M. Fluke, Sr.*Douglas F. KingEstate of Ann W. LawrenceThe Norcliffe FoundationEstate of Mark Charles PabenJames D. and Sherry L. Raisbeck FoundationJoan S. Watjen, in memory of Craig M. Watjen
$100,000 – $499,999
Estate of Glenn H. AndersonAndrew W. Mellon FoundationBob and Clodagh AshAlan BenaroyaEstate of C. Keith BirkenfeldMrs. Rie Bloomfield*The Boeing CompanyC.E. Stuart Charitable FundDr. Alexander Clowes* and
Dr. Susan DetweilerRichard* and Bridget CooleyMildred King DunnE. K. and Lillian F. Bishop FoundationEstate of Clairmont L. and
Evelyn EgtvedtEstate of Ruth S. EllerbeckSenator and Mrs. Daniel J. EvansFluke Capital ManagementEstate of Dr. Eloise R. GiblettAgnes GundHelen* and Max* GurvichEstate of Mrs. James F. HodgesEstate of Ruth H. HoffmanEstate of Virginia IversonEstate of Peggy Anne JacobssonRobert C. JenkinsEstate of Charlotte M. MaloneBruce and Jolene McCawBruce and Jeanne McNaeMicrosoft CorporationNational Endowment for the ArtsNorthwest FoundationPeach FoundationEstate of Elsbeth PfeifferEstate of Elizabeth RichardsJon and Judy RunstadEstate of Joanne M. SchumacherWeyerhaeuser CompanyThe William Randolph Hearst
FoundationsEstate of Helen L. YeakelEstate of Victoria ZablockiAnonymous (3)
$50,000 – $99,999
Dr.* and Mrs. Ellsworth C. Alvord, Jr.Estate of Mrs. Louis BrecheminEstate of Edward S. Brignall
Sue and Robert CollettFrances O. Delaney*John and Carmen* DeloEstate of Lenore Ward ForbesEstate of George A. FranzJean GardnerEstate of Mr. and Mrs. Irvin GattikerAnne Gould Hauberg*Richard and Elizabeth HedreenEstate of William K. and
Edith A. HolmesJohn Graham FoundationMr. and Mrs. Stanley P. JonesEstate of Betty L. KupersmithJohn and Cookie* LaughlinE. Thomas McFarlanEstate of Alice M. MuenchNesholm Family FoundationEstate of Opal J. OrrM. C. Pigott FamilyPONCHOEstate of Mrs. Marietta PriebeSeattle Symphony VolunteersMr. and Mrs. Paul R. SmithEstate of Frankie L. WakefieldEstate of Marion J. WallerWashington MutualAnonymous (1)
$25,000 – $49,999
Edward and Pam Avedisian Estate of Bernice BakerEstate of Ruth E. BurgessEstate of Barbara and Lucile CalefMrs. Maxwell CarlsonAlberta Corkery*Norma Durst*Estate of Margret L. DuttonEstate of Floreen EastmanHugh S. Ferguson*Mrs. Paul Friedlander*Adele GolubPatty HallThomas P. HarvilleHarold Heath*George Heidorn and Margaret Rothschild*Phyllis and Bob HenigsonMichael and Jeannie HerrCharles E. Higbee, MD and
Donald D. BenedictMr. and Mrs. L. R. HornbeckSonia Johnson*The Keith and Kathleen Hallman FundDavid and Karen KratterEstate of Marlin Dale LehrmanEstate of Coe and Dorothy MaloneEstate of Jack W. McCoyEstate of Robert B. McNettEstate of Peter J. McTavishEstate of Shirley Callison MinerPACCAR FoundationEstate of Elizabeth ParkeMr. and Mrs. W. H. PurdyKeith and Patricia RiffleRita* and Herb* Rosen and
the Rosen FamilyJerry and Jody SchwarzSeafirst BankSeattle Symphony Women’s AssociationSecurity Pacific BankPatricia Tall-Takacs and Gary TakacsU S WEST CommunicationsEstate of Dr. and Mrs. Wade VolwilerEstate of Marion G. WeinthalEstate of Ethel WoodAnonymous (2)
* In Memoriam
SEATTLE SYMPHONY ENDOWMENT FUNDThe 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 November 28, 2016. For information on endowed gifts and naming opportunities in Benaroya Hall, please contact Becky Kowals at 206.215.4852 or [email protected].
Janice T. Whittaker, byJody Friday
Richard Yarington, byYoko BarnettRobert E. ClappBarbara McHargCheryl JeffordCharles and Joan JohnsonMargaret KiyoharaMJo
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, 2014.)
Barbara and Lucile CalefRobert E. and Jeanne CampbellCarmen DeloSherry FisherJane B. FolkrodLenore Ward ForbesMarion O. GarrisonElizabeth C. GiblinCarol Hahn-OliverHarriet C. Barrett TrustAllan and Nenette HarveyYveline HarveyHelen and Max GurvichBetty L. KupersmithE. Marian LackovichAnna L. LawrenceArlyne LoackerOlga M. McEwingPeter J. McTavishNorman D. MillerNuckols-Keefe Family FoundationBeatrice OlsonCarl A. RotterJohn C. RottlerAllen E. SenearAmy SidellPhillip SothMorton StellingIda L. Warren
SEATTLE SYMPHONY DONORS
50 SEATTLESYMPHONY.ORG
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 November 28, 2016.
Charles M. and Barbara Clanton AckermanJoan P. AlgarinRichard Andler and Carole RushRon ArmstrongElma ArndtBob and Clodagh AshSusan A. AustinRosalee BallDavid W. BarkerDonna M. BarnesCarol BatchelderJanet P. BeckmannAlan BenaroyaRebecca BenaroyaDonald/Sharon Bidwell Living TrustRosemary and Kent BrauningerSylvia and Steve BurgesDr. Simpson* and Dr. Margaret BurkeSue and Robert CollettDr. Marshall Corson and Mrs. Lauren RikerBetsey Curran and Jonathan KingFrank and Dolores DeanRobin Dearling and Gary AckermanLorraine Del Prado and Thomas DonohueJohn DeloDr. Susan Detweiler and Dr. Alexander Clowes*Fred and Adele DrummondMildred King DunnSandra W. DyerAnn R. EddyDavid and Dorothy FlukeGerald B. FollandJudith A. FongJack and Jan ForrestRussell and Nancy FosmireErnest and Elizabeth Scott FrankenbergCynthia L. GallagherJane and Richard GallagherJean GardnerWilliam and Cheryl GeffonNatalie GendlerCarol B. GoddardFrances M. GoldingJeffrey Norman GolubDr. and Mrs. Ulf and Inger GoransonBetty GrahamCatherine B. GreenDr. Martin L. GreeneRoger J.* and Carol* Hahn-OliverJames and Darlene HalversonBarbara HannahHarriet HarburnKen and Cathi HatchMichele and Dan HeidtRalph and Gail HendricksonDeena J. HenkinsCharles E. Higbee, MDHarold and Mary Frances HillFrank and Katie HollandDr. Kennan H. HollingsworthChuck and Pat HolmesRichard and Roberta HymanJanet Aldrich JacobsRobert C. JenkinsDr. Barbara JohnstonNorman J. Johnston* and L. Jane Hastings JohnstonAtul R. KanagatDon and Joyce KindredDell KingDouglas F. KingStephen and Barbara KratzFrances J. KwapilM. LaHaiseNed LairdPaul Leach and Susan WinokurLu Leslan
Marjorie J. LevarJeanette M. Lowen*Thomas and Virginia Hunt LuceTed and Joan LundbergJudsen Marquardt and Constance NivaIan and Cilla MarriottDoug and Joyce McCallumJean E. McTavishWilliam C. MessecarJerry Meyer and Nina ZingaleCharles N. MillerElizabeth J. MillerMrs. Roger N. MillerMurl G. Barker and Ronald E. MillerReid and Marilyn MorganGeorge MuldrowMarr and Nancy MullenIsa NelsonGina W. OlsonSarah M. OvensDonald and Joyce ParadineDick and Joyce PaulJane and Allan PaulsonStuart N. PlumbRoger Presley and Leonard PezzanoMrs. Eileen Pratt PringleMr. and Mrs. W. H. PurdyJames and Sherry RaisbeckJ. Stephen and Alice ReidBernice Mossafer RindBill* and Charlene RobertsJunius RochesterJan RogersMary Ann SageThomas H. SchachtJudith Schoenecker and Christopher L. MyersAnnie and Leroy SearleVirginia and Allen* SenearLeonard and Patricia ShapiroJan and Peter ShapiroJohn F. and Julia P.* ShawBarbara and Richard ShikiarValerie Newman SilsEvelyn SimpsonBetty J. SmithKatherine K. SodergrenAlthea C. and Orin H.* SoestSonia SpearMorton A. Stelling*Diane StevensPatricia Tall-Takacs and Gary TakacsGayle and Jack ThompsonArt and Louise TorgersonBetty Lou and Irwin* TreigerMuriel Van HousenSharon Van ValinJean Baur ViereckDr. Robert WallaceNicholas A. WallsJudith Warshal and Wade SowersDouglas WeisfieldJames and Janet WeismanJohn and Fran WeissDorothy E. WendlerGerald W. and Elaine* Millard WestSelena and Steve WilsonRonald and Carolyn WoodardArlene A. WrightJanet E. WrightRick and Debbie ZajicekAnonymous (44)
* In Memoriam
NEW APP FEATURES
SEATTLESYMPHONY.ORG/APP
DOWNLOAD:
DOWNLOADTHE LISTEN BOLDLY APP!
Seattle Symphony is now offering SEAT UPGRADES for select concerts through the Listen Boldly mobile app.
encoreartsseattle.com 51
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 November 28, 2016. Thank you for your support — our donors make it all possible!
$50,000 – $99,999
Classical KING FM 98.1 ◊
Google Inc. †
John Graham Foundation
KEXP †
Laird Norton Wealth Management
Microsoft Corporation
Microsoft Matching Gifts
Nesholm Family Foundation
Seattle Met Magazine †
$25,000 – $49,999
Ann and Gordon Getty Foundation
Bill & Melinda Gates Foundation
Boeing Matching Gift Program
CTI BioPharma Corp.
Classic Pianos ◊
Clowes Fund, Inc.
Encore Media Group †
Garvey Schubert Barer †
J.P. Morgan Chase & Co.
Nordstrom
Seattle Cancer Care Alliance
Sheri and Les Biller Family Foundation
Wells Fargo Private Bank
$15,000 – $24,999
Aaron Copland Fund For Music
Ann and Gordon Getty Foundation and the League of American Orchestras
Chihuly Studio †
Crimson Wine Group ◊
Elizabeth McGraw Foundation
$10,000 – $14,999
Acucela Inc.
Bill & Melinda Gates Foundation Matching Gifts
Coca-Cola Company Matching Gifts
Foster Pepper PLLC
Fran’s Chocolates ◊
Holland America Line ◊
Lakeside Industries
Milliman †
Norman Archibald Foundation
Peoples Bank
Perkins Coie LLP
RBC Wealth Management
Rosanna, Inc. †
Russell Investments
U.S. Bank Foundation
Weill Music Institute †
Wild Ginger Restaurant †
Anonymous
$5,000 – $9,999
AETNA
Apex Foundation
Bank of America
Bellevue Children’s Academy
The Benaroya Company
Bessemer Trust
Brown Bear Car Wash
Chihuly Garden + Glass
Citi Community Capital
Davis Wright Tremaine
Dover Corporation
D.V. & Ida McEachern Charitable Trust
EY
GE Foundation
Glazer’s Camera †
Jean K. Lafromboise Foundation
KeyBank
NAREIG
Peg and Rick Young Foundation
RBC Foundation
Russell Family Foundation
Sheraton Seattle Hotel †
Skanska USA
Sullivan’s Steakhouse †
Vitus Group
The Westin Hotel, Seattle †
$3,000 – $4,999
Amphion Foundation
The Capital Grille †
GE Foundation Matching Gifts
Genworth Foundation
Google Matching Gifts
IBM International Foundation
Music4Life
Thurston Charitable Foundation
Touchstone Group at Morgan Stanley
Wyman Youth Trust
$1,000 – $2,999
Acción Cultural Espagñola
Alfred & Tillie Shemanski Trust Fund
BNY Mellon
Brandon Patoc Photography †
Chihuly Studio
CityBldr
Consulate General of the Republic of Poland
DreamBox Learning
DSquared †
Eaton Vance
Educational Legacy Fund
Four Seasons Hotel †
Fox’s Seattle †
Garden Conservancy
Hard Rock Cafe Seattle †
Inn at the Market †
KAN | Orchids Flowers †
O Wines †
Pacific Coast Feather Co.
Sam and Peggy Grossman Family Foundation
Steinway & Sons Seattle/Bellevue ◊
Talking Rain †
Treveri Cellars †
Tulalip Tribes Charitable Fund
UBS Financial Services Inc.
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
Seattle Symphony
Volunteers ◊
52 SEATTLESYMPHONY.ORG
Business, meet Beethoven.Encore Media Group connects businesses and brands to the best of arts & culture in Seattle and the Bay Area.
We’re proud to have published programs with the Seattle Symphony for 35 years.
From fashion and finance to dining and diamonds, smart business owners know Encore is the best way to get their brand in the spotlight.
To learn what Encore can do for your business, visit encoremediagroup.com.
SEATTLE SYMPHONY SPECIAL EVENTS SPONSORS & COMMITTEES
OPENING NIGHT GALA, SEPTEMBER 17, 2016Honoring William Gates Sr. and Mimi Gardner Gates
GALA SPONSORJP Morgan Chase & Co.
GUEST ARTIST SPONSORNordstrom
CO-CHAIRSRenée Brisbois
Nader Kabbani
Betty Tong
COMMITTEERosanna Bowles
Meredith Broderick
Leslie Jackson Chihuly
Linda Cole
Christine Coté-Wissmann
Kathy Fahlman Dewalt
Terry Hecker
Hisayo Nakajima
Paul Rafanelli
Jon Rosen
Christine Suignard
Kirsten Towfiq
HOLIDAY MUSICAL SALUTE, DECEMBER 6, 2016
CO-CHAIRSRebecca Layman-Amato
Katrina Russell
COMMITTEEMichelle Codd
Roberta Downey
Kathleen Mitrovich
Ghizlane Morlot
Tiffany Moss
Rena O’Brien
Jill Singh
Leslie Whyte
TEN GRANDS, MAY 14, 2016
Kathy Fahlman DewaltCo-Founder and Executive Director
COMMITTEE
Rosanna BowlesCheri BrennanTom HorsleyJudith FongNader KabbaniBen Klinger
Ghizlane MorlotCarla NicholsStephanie WhiteJessie Woolley-WilsonBarbara Wortley
CLUB LUDO, JUNE 9, 2017
CO-CHAIRS
Ryan MitrovichTiffany Moss
COMMITTEE
Eric BerlinbergBrittany BouldingSamantha DeLunaEric JacobsJason PerkizasTalia SilveriSaul Spady
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.
YOUR GUIDE TO THE SEATTLE SYMPHONY
SYMPHONICA, THE SYMPHONY STORE:
Located in The Boeing Company Gallery, Symphonica is
open weekdays from 11am–2pm and 90 minutes prior to
all Seattle Symphony performances through intermission.
PARKING: Prepaid parking may be purchased
online or through the Ticket Office.
COAT CHECK: The complimentary coat check
is located in The Boeing Company Gallery.
LATE SEATING: Late-arriving patrons will be seated
at appropriate pauses in the performance, and are
invited to listen to and watch performances on a monitor
located in the Samuel & Althea Stroum Grand Lobby.
CAMERAS, CELL PHONES & RECORDERS:
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.
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.
COUGH DROPS: Cough drops are available
from ushers.
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.
Visit seattlesymphony.org/benaroyahall
for more information.
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.
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.
PHONE:
206.215.4747 or 1.866.833.4747
ONLINE:
seattlesymphony.org.
GROUP SALES:
206.215.4818 or
MAILING ADDRESS:
P.O. Box 2108, Seattle, WA 98111-2108
HOW TO GIVE:The concert you’re about to enjoy is possible
because of donations made by generous
music-lovers like you.
We invite you to join the caring community of
individuals, companies and foundations who bring
outstanding symphonic music to the community.
PHONE:
206.215.4832
ONLINE:
seattlesymphony.org/give
MAILING ADDRESS:
P.O. Box 21906, Seattle, WA 98111-3906
54 SEATTLESYMPHONY.ORG
THE LIS(Z)TSEEN & HEARD @ THE SEATTLE SYMPHONY
PHOTOS: 1 Seattle Symphony Second Violin Stephen Bryant introduces the music 2 Seattle Symphony Microsoft Ambassador Jack Freelander welcomes guests
3 The performance drew a crowd on Microsoft’s Redmond campus 4 5 Microsoft employees and their families were a receptive audience for the afternoon’s
chamber music performance
On October 21, 2016 a quartet of Seattle Symphony musicians visited Microsoft in Redmond for a chamber music concert. The performance was presented in recognition of Microsoft’s longstanding partnership with the Symphony and generous support from Microsoft employees.
The afternoon opened with a welcome by Jack Freelander of Microsoft, followed by remarks by Seattle Symphony Vice President of Development Jane Hargraft about the strong relationship between the Symphony and Microsoft, and the valuable impact their partnership has on the broader Puget Sound community.
The recital featured Seattle Symphony musicians Stephen Bryant, violin; and Roberta Hansen Downey, cello; along with guest musicians Adrianna Hulscher, violin; and Sue Jane Bryant, viola; performing pieces by Beethoven, Bernstein and Bachmann.
The Symphony thanks Microsoft and Microsoft employees for more than 20 years of generous support, sharing the joy of symphonic music in Seattle and beyond. Special thanks to all those who attended the on-campus event for the warm welcome and delightful afternoon.
SEATTLE SYMPHONY @ MICROSOFT
seattlesymphony.org/liszt
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