Lang Lang with the Seattle Symphony 20 / October 10 & 12 Mozart Jupiter Symphony You Have Dreams

OCTOBER 2019 OCTOBER THOMAS DAUSGAARD, MUSIC DIRECTOR

Beatrice Rana plays Schumann’s Piano Concerto

Dausgaard conducts Mozart’s “Jupiter” Symphony & Beethoven’s Second Piano Concerto with Lang Lang Mozart’s Requiem Augustin Hadelich plays Brahms’ Violin Concerto My legacy. My partner.

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Untitled-3 1 4/30/19 12:11 PM CONTENTS OCTOBER 2019

4 / Calendar 6 / The Orchestra 50 / Benaroya Hall Guide

FEATURES

5 / Community Connections 7 / Meet the Musicians 10 / On a High Note 12 / Thomas Dausgaard on the Season Ahead 51 / The Lis(z)t

CONCERTS

14 / October 9 My legacy. My partner. Lang Lang with the Seattle Symphony 20 / October 10 & 12 Mozart Jupiter Symphony You have dreams. Goals you want to achieve during your lifetime and a legacy you want to leave 24 / October 17, 19 & 20 behind. The Private Bank can help. Our highly specialized and experienced wealth strategists can Mozart Requiem help you navigate the complexities of estate planning and deliver the customized solutions you need to ensure your wealth is transferred according to your wishes. 31 / October 18 [untitled] 1 Take the first step in ensuring the preservation of your wealth for your lifetime and NATHALIE STUTZMANN 34 / October 24 & 26 Photo: Simon Fowler. Simon Photo: future generations. 39 Schumann Piano Concerto 38 / October 25 To learn more, please visit unionbank.com/theprivatebank or contact: Mendelssohn Untuxed 39 / October 31 & November 2 Augustin Hadelich Brahms Lisa Roberts Violin Concerto Managing Director, Private Wealth Management [email protected] 415-705-7159 NOAH GELLER AUGUSTIN HADELICH Photo: JamesHolt Photo: 24 Photo: Valentina Luca 39

ON THE COVER: Beatrice Rana by Nicolas Bets COVER DESIGN: Jadzia Parker EDITORS: Rachel Spain, Heidi Staub

All rights reserved. No portion of this work may be reproduced in any form or by any electronic or mechanical means without written permission ©2019 MUFG Union Bank, N.A. All rights reserved. Member FDIC. from the Seattle Symphony. All programs and artists are subject to change. Union Bank is a registered trademark and brand name of MUFG Union Bank, N.A.

encorespotlight.com 3

Untitled-3 1 4/30/19 12:11 PM LOOKING AHEAD: PERFORMANCE SPACE: ON THE DIAL: Tune in to Classical KING ■ S. MARK TAPER FOUNDATION AUDITORIUM FM 98.1 every Wednesday at 8pm for a ■ ILLSLEY BALL NORDSTROM RECITAL HALL Seattle Symphony spotlight and the first NOVEMBER ■ OCTAVE 9: RAISBECK MUSIC CENTER Friday of every month at 9pm for concert ■ SAMUEL & ALTHEA STROUM GRAND LOBBY broadcasts. AT BENAROYA HALL ■ SYMPHONY EVENTS AWAY FROM THE HALL

SUNDAY MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY SATURDAY

1 1pm NPR’s 2 Wow in the World Pop Up Party NATIONAL PUBLIC RADIO

7:30pm Jazz of the Harlem Renaissance SEATTLE REPERTORY JAZZ ORCHESTRA

8pm Augustin Hadelich Brahms Violin Concerto SEATTLE SYMPHONY

4pm 3 4 5 7:30pm 6 7:30pm 7 8pm 88 7:30pm 9 Passage: Confronting Chick Corea Trace Bundy The Movie Music of Duo Melis Intolerance Rhapsody in Blue LIVE @ BENAROYA John Williams SEATTLE CLASSIC MUSIC OF SEATTLE SYMPHONY HALL SEATTLE SYMPHONY GUITAR SOCIETY REMEMBRANCE 9pm 8pm 6pm Suicide Girls: The Movie Music of Dialogues: Kate Blackheart John Williams Soper in Recital Burlesque SEATTLE SYMPHONY SEATTLE SYMPHONY SUICIDE GIRLS LLC

2pm 10 7:30pm 11 7:30pm 12 13 7:30pm 14 12pm 15 8pm 16 The Movie Music of Veterans Day Amor Towles Rachmaninov Rachmaninov Rachmaninov John Williams Celebration SEATTLE ARTS & Symphony No. 2 Symphony No. 2 Symphony No. 2 SEATTLE SYMPHONY SEATTLE WIND LECTURES SEATTLE SYMPHONY SEATTLE SYMPHONY SEATTLE SYMPHONY SYMPHONY 7pm 8pm 8pm An Evening with LEONID & FRIENDS Mateo Messina's David Sedaris - A Tribute to the 22nd Benefit NORTHWEST Music of Chicago Concert: Origin -The ASSOCIATED ARTS, EMPORIUM PRESENTS Symphony KNKX 88.5 FM & THE LUMA GUILD STRANGER 8pm Beethoven & Ravel SEATTLE SYMPHONY

3pm 17 7pm 18 19 20 10am Friends 21 7:30pm 22 9:30 & 11am 23 Russian Masters Musical Open Rehearsal & Casa Patas Meet the Clarinet SEATTLE YOUTH Conversations: Discussion Flamenco: Raíz De 4 SEATTLE SYMPHONY SYMPHONY Stravinsky SEATTLE SYMPHONY LIVE @ BENAROYA 2 & 7:30pm ORCHESTRA SEATTLE SYMPHONY HALL 7:30pm Artist/ Casa Patas Filmmaker Robin Flamenco: Raíz De 4 7:30pm 8pm LIVE @ BENAROYA HALL A Tuba To Cuba: The Layton presents the Orfeo ed Euridice 2pm Cascade Youth Preservation Hall lake with guitarist SEATTLE SYMPHONY Jazz Band with Yusa Will Ackerman Symphony Orchestra and Special Guests LIVE @ BENAROYA Concert CASCADE YOUTH LIVE @ BENAROYA HALL SYMPHONY ORCHESTRA HALL 7:30pm Stravinsky 8pm Stravinsky The The Rite of Spring Rite of Spring SEATTLE SYMPHONY SEATTLE SYMPHONY

2:30pm 24 25 26 27 28 7:30pm 29 6pm 30 La Nef: Sea Songs The Tenors: Wonder Encanto Holiday and Chanties of Christmas Tour Concierto EARLY MUSIC SEATTLE LIVE @ BENAROYA ENCANTO ARTS HALL 7pm 7:30pm Sacred Sounds of 'Tis the Season Christmas SEATTLE MEN’S SEATTLE PACIFIC CHORUS UNIVERSITY

*Donor Events: Call 206.215.4832 for more information seattlesymphony.org TICKETS: 206.215.4747 GIVE: 206.215.4832

4 SEATTLESYMPHONY.ORG ■ COMMUNITY CONNECTIONS The Arc of King County

Sandra Urite and Caroline April Urite; picture was taken by Tom Wolken during The Arc’s Latino Winter Party

The Arc of King County serves all people with intellectual and developmental disabilities across the lifespan: from prenatal diagnosis through end of life care. They serve parents, tchaikovsky guardians, siblings, adults living in the community, individuals who need financial management assistance, families at risk of losing their housing, self-advocates, EUGENE and community allies seeking to make the community more systemically equitable for all people. The Arc of King County promotes and ONEGIN protects human and civil rights of people with intellectual and developmental disabilities, actively supporting their full inclusion so that they can live, learn, work, and play in the JANUARY 11–25 community — making the world a better place for us all. The Arc of King County is one of nearly 80 partners in the Seattle Symphony’s Community Connections program which provides complimentary tickets to diverse communities in the Puget Sound region. © Philip Newton

DECADENT RUSSIAN ROMANCE For Tatyana, it’s love at first sight. She bares her In Russian with English subtitles. soul in a passionate letter to Onegin, but their Evenings 7:30 PM hearts are out of sync. When he finally returns Sundays 2:00 PM her affections, it’s too late—a rival has appeared. Featuring the Seattle Opera Chorus Pushkin’s masterful verse novel fuses with and members of Seattle breathtaking music by Tchaikovsky (The Symphony Orchestra. CONNECT WITH US: Nutcracker, Swan Lake, 1812 Overture) for Share your photos using #ListenBoldly and poignant Russian romance at its finest. Lush orchestrations, elegant ballroom dances, and MCCAW HALL follow @seattlesymphony on Facebook, 206.389.7676 Instagram, Twitter and Snapchat. Download elaborate costumes bring 1800s Russia to life on the McCaw Hall stage in this achingly beautiful the Listen Boldly app to easily purchase SEATTLEOPERA.ORG/ONEGIN tale of longing, remorse, and love unfulfilled. tickets, skip the Ticket Office lines and receive exclusive offers. 2019/20 SEASON SPONSOR: IN MEMORY OF KARYL WINN PRODUCTION SPONSOR: SEATTLE OPERA FOUNDATION

encorespotlight.com 5 ■ ABOUT THE SEATTLE SYMPHONY

THOMAS DAUSGAARD MUSIC DIRECTOR

Music Director of the Seattle Symphony, Danish conductor Thomas Dausgaard is esteemed for his creativity and innovative programming, the excitement of his live performances and his extensive catalogue of critically acclaimed recordings. A renowned recording artist with over 70 discs to his name, Dausgaard’s releases with the Seattle Symphony have garnered critical acclaim resulting in international honors including a 2017 Gramophone Award nomination for Mahler’s Symphony No. 10 (Deryck Cooke version), Gramophone’s 2018 Orchestra of the Year Award, and a 2019 Best Orchestral Performance Grammy nomination for Nielsen’s Symphonies Nos. 3 and 4. An avid champion of contemporary works and the music of his homeland, Dausgaard and the Seattle Symphony will release the much-anticipated cycle of symphonies by Carl Nielsen. Performing internationally with many of the world’s leading orchestras, Dausgaard is also the Chief Conductor of the BBC Scottish Symphony Orchestra, Conductor Laureate of the Swedish Chamber Orchestra, and Honorary Conductor of the Orchestra della Toscana and the Danish National Symphony Orchestra. Dausgaard has been awarded the Cross of Chivalry by the Queen of Denmark and elected to

Photo: Brandon Patoc Brandon Photo: the Royal Academy of Music in Sweden.

SEATTLE SYMPHONY ROSTER

Joseph Crnko Associate Conductor for Choral Activities Ludovic Morlot Judith Fong Conductor Emeritus THOMAS DAUSGAARD Lee Mills Douglas F. King Associate Conductor Gerard Schwarz Rebecca & Jack Benaroya Conductor Laureate Harriet Overton Stimson Music Director Lina Gonzalez-Granados Conducting Fellow

FIRST VIOLIN Mara Gearman OBOE Jonathan Karschney KEYBOARD Noah Geller Assistant Principal Mary Lynch Assistant Principal Joseph Adam David & Amy Fulton Concertmaster Timothy Hale Principal Jenna Breen Organ + Open Position Wes Dyring Supported by anonymous donors John Turman Clowes Family Associate Concertmaster Sayaka Kokubo Ben Hausmann Danielle Kuhlmann PERSONNEL MANAGER Daniel Stone Associate Principal Scott Wilson Eduardo Rios Rachel Swerdlow TRUMPET First Assistant Concertmaster Chengwen Winnie Lai David Gordon Stefan Farkas ASSISTANT PERSONNEL MANAGER Simon James CELLO Boeing Company Principal Trumpet Keith Higgins Second Assistant Concertmaster** Efe Baltacıgil ENGLISH HORN Alexander White Marks Family Foundation Principal Cello Jennifer Bai Stefan Farkas Associate Principal LIBRARY Mariel Bailey Meeka Quan DiLorenzo Christopher Stingle Jeanne Case Cecilia Poellein Buss Associate Principal CLARINET Michael Myers Associate Librarian Timothy Garland Nathan Chan Leonid Keylin Benjamin Lulich Robert Olivia Assistant Principal TROMBONE Andy Liang Mr. & Mrs. Paul R. Smith Principal Associate Librarian Clarinet Ko-ichiro Yamamoto Mae Lin Eric Han Rachel Swerdlow Principal Mikhail Shmidt Bruce Bailey Emil Khudyev Assistant Librarian Clark Story Roberta Hansen Downey Associate Principal David Lawrence Ritt Walter Gray John Weller Laura DeLuca Stephen Fissel Vivian Gu TECHNICAL DIRECTOR Jeannie Wells Yablonsky Dr. Robert Wallace Clarinet Arthur Zadinsky Joy Payton-Stevens BASS TROMBONE Joseph E. Cook Eric Jacobs David Sabee Stephen Fissel SECOND VIOLIN ARTIST IN ASSOCIATION E-FLAT CLARINET Elisa Barston BASS TUBA Dale Chihuly Laura DeLuca Principal Jordan Anderson John DiCesare Mr. & Mrs. Harold H. Heath Principal 2019–2020 SEASON Michael Miropolsky Principal String Bass BASS CLARINET COMPOSER IN RESIDENCE John & Carmen Delo Eric Jacobs Tyshawn Sorey Associate Principal Second Violin Joseph Kaufman TIMPANI Associate Principal Kathleen Boyer BASSOON James Benoit 2019–2020 SEASON Jonathan Burnstein ARTIST IN RESIDENCE Assistant Principal Seth Krimsky Principal Jennifer Godfrey Gennady Filimonov Principal Seth Parker Woods Travis Gore Matthew Decker Sydney Adedamola * Assistant Principal Jonathan Green Luke Fieweger HONORARY MEMBER Evan Anderson Associate Principal Will Langlie-Miletich Cyril M. Harris Natasha Bazhanov PERCUSSION † Brittany Breeden Paul Rafanelli FLUTE Open Position Michael A. Werner Stephen Bryant + Resident Linda Cole Demarre McGill Principal In Memoriam Xiao-po Fei Principal CONTRABASSOON Michael Clark † Artur Girsky Supported by David and Shelley Hovind Open Position Matthew Decker * Temporary Musician for 2019–2020 Andrew Yeung Jeffrey Barker season Associate Principal HORN HARP VIOLA ** On leave for the 2019–2020 season Judy Washburn Kriewall Jeffrey Fair Valerie Muzzolini Susan Gulkis Assadi Zartouhi Dombourian-Eby Charles Simonyi Principal Horn Principal PONCHO Principal Viola Mark Robbins Arie Schächter PICCOLO Associate Principal Associate Principal Zartouhi Dombourian-Eby Supported by Stephen Whyte Robert & Clodagh Ash Piccolo

6 SEATTLESYMPHONY.ORG ■

Photo: Alex Bergstorm beautiful experience.” symphonies like ours,therearenootheraudienceslike ours.That's whatmakes livemusica “When weallcometogethertoshare thatgift,thereisnothingelselike it.Therearenoother we areaspeopleandmusicians, individually, butalsowhoweareasasymphony.” before concertsonstageatBenaroyaHall.Forher, “it's moreaboutsharingwiththeaudiencewho Despite herfearlessattitude, Daniellesaysshestillfeelsasenseofanticipationandexcitement to intheorchestra.Oursignaturesongis‘SuddenlySeymour’from with them,” shesays.“Mybestkaraoke partnerisprobably JohnTurman, thirdhorn,whoIsitnext favorite karaoke spotinBeaconHill.“Anyone whowillsingkaraoke withme, Iwillsingkaraoke Danielle exudes confidencewhenevershetakes thestage. SheisaMonday nightregularather in myopinions,ideas.” a woman,thatit’s beenahugehelptoputmeoutthereintheworld,feelconfidentmyvoice, requires alotofconfidenceandvulnerabilityatthesametime,” shesays.“Ithink,especiallybeing Her willingnesstotake risks couldbeconnected toheryearsofstudyingmusic.“Playingthehorn improvise asIgo. Usuallyit's good,butsometimesit's terrible,” shelaughs. cooks. “Ilike toexperiment withfoodbecauseIloveeatingandflavors. Its neatlabels,cleanrowsandperfectorderenablesanadventurous,creativefreedomwhenshe obsessively organized,andmyspicerackisthecrownjewelofkitchen,” sheexplains. Danielle Kuhlmann wantsyoutoknowthatshelovesherspicerack.Notalittle. Alot.“I’m Horn Danielle MEET THEMUSICIANS Kuhlmann

Little ShopofHorrors.” BV 071811 repair1_12.pdf Inspiring Gifted Students 206 arts &culture tickets. Teens canenjoytons of affordable events It’s FREEtosignup teentix.org to thearts! . Your ticket entitles youto$5 691 for thepassthat . with TeenTix! 2625 Bischofberger encorespotlight.com seattlecountryday.org Violins Professional www.bviolins.com Appraisals 1314 E.JohnSt. bviolinsltd.com 206-324-3119 Repairs & Seattle, WA Sales est. 1955 7

K-8 ABOUT THE SEATTLE SYMPHONY

Led by Music Director Thomas Dausgaard, the Seattle Symphony unleashes the power of music, brings people together and lifts the human spirit. Recognized as one of the “most vital American orchestras” (NPR), the Seattle Symphony is internationally acclaimed for its inventive programming, community-minded initiatives and superb recordings on the Seattle Symphony Media label. With a strong commitment to new music and a legacy of over 150 recordings, the orchestra has garnered five Grammy Awards, 26 Grammy nominations, two Emmy Awards and was named Gramophone’s 2018 Orchestra of the Year. The Symphony performs in Benaroya Hall in the heart of downtown Seattle from September through July, reaching over 500,000 people annually through live performances and radio broadcasts. The Seattle Symphony acknowledges that we gather on Indigenous land: the traditional territory of Coast Salish peoples, specifically the Duwamish Tribe (Dkhw Duw’Absh).

■ OUR MISSION THE SEATTLE SYMPHONY UNLEASHES THE POWER OF MUSIC, BRINGS PEOPLE TOGETHER, AND LIFTS THE HUMAN SPIRIT.

SEATTLE SYMPHONY BOARD OF DIRECTORS

RENÉ ANCINAS Chair* Molly Gabel Secretary* Paula Boggs Vice Chair, Audiences & Communities* Dana Reid Vice Chair, Governance* Michael Slonski Treasurer* Jon Rosen Vice Chair, Development* Stephen Whyte Vice Chair, Finance*

DIRECTORS Viren Kamdar DESIGNEES Bruce Baker Henry James Marco Argenti Ronald Koo Zartouhi Dombourian-Eby Cynthia Bayley J. Pierre Loebel Musician Representative Rosanna Bowles Ryo Kubota Sherry Benaroya Yoshi Minegishi Isiaah Crawford Stephen Kutz Carla GiffordPresident, Alexandra Brookshire Marilyn Morgan Seattle Symphony Chorale Susan Detweiler Ned Laird* Phyllis Byrdwell Isa Nelson Rebecca Ebsworth Paul Leach* Carole E. Rush President, Phyllis Campbell Marlys Palumbo Seattle Symphony Volunteers Larry Estrada Kjristine R. Lund Mary Ann Champion Sally Phinny Brian J. Marks Valerie Muzzolini Robert Collett James Raisbeck Jerry Farley Musician Representative Judith Fong Scott McCammant David Davis Sue Raschella Krishna Thiagarajan Mauricio Gonzalez Hisayo Nakajima President & CEO Nancy Evans Bernice Rind † de la Fuente Nancy Neraas Alexander White Dorothy Fluke Jill Ruckelshaus Lt. Gov. Cyrus Habib Peter Russo Musician Representative David Fulton H. Jon Runstad Michael Hatch Elisabeth Beers Sandler Jean Gardner Martin Selig CHAIR EMERITA Terry Hecker Kathy Savitt Ruth Gerberding John F. Shaw Leslie Jackson Chihuly Jean-François Heitz* Jim Schwab* James Gillick Linda Stevens Parul Houlahan* Lyle Snyder LIFETIME DIRECTORS Gerald Grinstein Patricia Tall-Takacs Douglas Jackson Patty Hall Marcus Tsutakawa * Executive Committee Llewelyn Pritchard Susan Johannsen* Chair Cathi Hatch Cyrus Vance, Jr. Aimee Johnson* Richard Albrecht Steven Hill Karla Waterman Nader Kabbani Susan Armstrong Ken Hollingsworth Ronald Woodard Robert Ash Patricia Holmes Arlene Wright William Bain † David Hovind † In Memoriam

SEATTLE SYMPHONY FOUNDATION BOARD OF DIRECTORS

JEAN-FRANÇOIS HEITZ Kathleen Wright Vice Chair René Ancinas Viren Kamdar David Tan Chair Muriel Van Housen Secretary Nancy B. Evans Kjristine R. Lund Rick White Michael Slonski Treasurer Joaquin Hernandez

BENAROYA HALL BOARD OF DIRECTORS

NED LAIRD Chair Mark Reddington Vice Chair Yao Bailey Jim Duncan Designees: Nancy B. Evans Secretary Dwight Dively Glen Lee Krishna Thiagarajan President & CEO Michael Slonski Treasurer Leo van Dorp Tom Owens Zartouhi Dombourian-Eby Musician Representative

8 SEATTLESYMPHONY.ORG SEATTLE SYMPHONY | BENAROYA HALL ADMINISTRATIVE STAFF

SENIOR MANAGEMENT TEAM COMMUNICATIONS DEVELOPMENT Krishna Thiagarajan Heidi Staub Aaron Sumpter President & CEO Director of Content Development Officer, Assistant to VP of Leslie Jackson Chihuly Chair Development James Holt Jennifer Adair Digital Content Producer Renee Duprel Vice President & General Manager Associate Vice President of Development Andrew Stiefel (Campaign) Laura Reynolds Senior Digital Communications Manager Vice President of Education & Community Paul Gjording Dinah Lu Engagement Director of Institutional Giving & Publicist Government Relations Cheronne Wong Vice President & CFO Betsy Groat MARKETING Senior Manager of Individual Giving Maria Yang Rachel Spain Vice President of Development Marketing Manager Kent Anderson Gregg Gleasner Donor Relations Officer Michelle Cheng Interim Vice President of Artistic Planning Digital Marketing Manager Becky Kowals Christy Wood Director of Major Gifts & Planned Giving Amanda DiCesare Associate Vice President of Marketing & Sales Marketing Administrator Marsha Wolf Shiva Shafii Senior Major Gift Officer Director of Communications Barry Lalonde Director of Digital Products Michael Maniaci Major Gift Officer EXECUTIVE OFFICE Herb Burke, Jason Huynh Digital Project Managers Alexa Bayouk, Madyson Ellars Margaret Holsinger Development Coordinators (Major Gifts) Executive Assistant to the President & CEO, Gerry Kunkel Office & Board Relations Manager Corporate & Concierge Accounts Manager Robert Wiseman Director of Individual Giving Alex Shiley Stephanie Tucker Office Assistant Senior Graphic Designer Martin K. Johansson Communications & Grants Manager Jadzia Parker ARTISTIC PLANNING Graphic Designer Kathleen Shin Annual Fund Coordinator Paige Gilbert Forrest Schofield Manager of Artistic Planning & Popular Group Services Manager Nichole Maiman Waterman Programming Data Operations Manager Joe Brock Michael Gandlmayr Retail Manager Nick Magruder Assistant Artistic Administrator Data Operations Coordinator Christina Hajdu Stephanie Torok Sales Associate Molly Gillette Senior Manager of Creative Projects & Special Events Officer Community Engagement Nina Cesaratto Ticket Office Sales Manager Jessica Kittams Dmitriy Lipay Stewardship Events Officer Director of Audio & Recording Brian Goodwin Ticket Office Coordinator Ryan Hicks Johanna Olson Corporate Development Manager Personal Assistant to the Music Director, Asma Ahmed, Mary Austin, Chorale Manager & Artistic Liaison James Bean, Jennifer Boyer, Danela Butler, Katrina Fasulo, Michelle FINANCE & FACILITIES Grinstead, Hannah Hirano, Gabrielle Praveena Vadrevu ORCHESTRA & OPERATIONS Turner, Emerson Wahl, Tobie Wheeler Controller Kelly Woodhouse Boston Ticket Services Associates Megan Spielbusch Director of Operations Accounting Manager Ana Hinz VENUE ADMINISTRATION Jenn Hernandez Production Manager Matt Laughlin AP Accountant Liz Kane Director of Facility Sales Erika Najarro Assistant to VP & GM James Frounfelter, Adam Moomey Payroll & Benefits Administrator deliciously Scott Wilson Event & Operations Managers Jordan Bromley Personnel Manager Nick Cates Staff Revenue Accountant Come enjoy Seattle Keith Higgins Concert & Event Production Manager Bernel Goldberg Assistant Personnel Manager Sophia El-Wakil General Counsel our happy hour Jeanne Case, Robert Olivia Event Operations Associate Tyler Ciena Associate Librarians Keith Godfrey Facilities Director Mon-Fri 4-6pm House Manager Joseph E. Cook Grant Cagle Technical Director Tanya Wanchena Facilities Manager or our nightly prix Assistant House Manager & Usher Scheduler Jeff Lincoln Damien DeWitte Assistant Technical Director Patrick Weigel Senior Building Engineer fixe dinner and Assistant House Manager John Roberson Rodney Kretzer Audio Manager Dawn Hathaway, Lynn Lambie, Building Engineer make it to your Mel Longley, Ryan Marsh, Johnny Baca, Chris Dinon, Renee Carroll Markus Rook Aaron Gorseth, Sarah C. Meyers, Facilities Administrator show on time. Michael Schienbein, Ira Seigel Head Ushers Stage Technicians Laura Banks, Bill Coniff, Katrina HUMAN RESOURCES Swensen, Carole Unger EDUCATION & Assistant Head Ushers Kathryn Osburn COMMUNITY ENGAGEMENT Human Resources Manager Amy Heald Associate Director of Collaborative Learning Jérémy Jolley Associate Director of Artistic Collaborations Katie Hovde Education & Community Engagement Manager (206) 728 - 2233 Melvin Moore Discovery Coordinator 1600 Post Alley

CONTACT US Pike Place Market, Seattle cafecampagne.com TICKETS: 206.215.4747 | DONATIONS: 206.215.4832 | ADMINISTRATIVE OFFICES: 206.215.4700 VISIT US ONLINE: seattlesymphony.org | FEEDBACK: [email protected]

encorespotlight.com 9 ON A HIGH NOTE WELCOME LEE NEWS FROM THE SYMPHONY AND LINA! The Seattle Symphony is excited to welcome Dear Friends, Lee Mills as the Douglas F. King Associate Conductor and Lina Gonzalez-Granados as I cannot believe how quickly October arrived. the Conducting Fellow! Mills will conduct It seems like only a few days ago we were a variety of concerts this season including getting ready for Opening Night with our new Family and Community Concerts and Music Director Thomas Dausgaard, which set Holiday programs. Gonzalez-Granados a new record for the Seattle Symphony thanks will be conducting several Education and to your support! October brings the return of Community Engagement concerts. In Thomas for what is sure to be two spectacular February, they’ll unite to lead [untitled] 2 concerts! One is with superstar pianist Lang featuring contemporary Latin American Lang and in the other, Thomas leads the composers. We so look forward to seeing orchestra in a riveting program of Scriabin’s them on the podium this season! Le Poème de l’extase and Stravinsky’s The Rite of Spring. Photo: Brandon Patoc Brandon Photo: Another big name joins us later this month — pianist Beatrice Rana will perform Robert Schumann’s Piano Concerto. That piece in particular was heavily influenced by his wife, composer and pianist Clara Schumann, a force in the classical world at the time. On the same program, I personally look forward to hearing a work composed as a tribute to her mother by Anna Clyne titled Within Her Arms.

The Symphony would not be complete without our amazing Chorale and I could Photo: James Holt James Photo: not imagine a more beautiful work to feature than the Mozart Requiem. The Requiem program will also feature Concertmaster Noah Geller and the return LEE MILLS of eminent conductor and period performance specialist Masaaki Suzuki to our Douglas F. King Associate Conductor podium. Finally, the first [untitled] performance will feature the brass section of Lee Mills is internationally recognized as a the Seattle Symphony for the first time and for some fun for the entire family, we multifaceted conductor. Mills has served as have the music of Bugs Bunny as well as our fall Family Concert this month. Resident Conductor of the Brazilian Symphony I look forward to seeing you at our many concerts in Benaroya Hall this month! Orchestra and conducted the National Symphony Thank you, and enjoy the music. Orchestra and Los Angeles Philharmonic. In 2014, he conducted in the acclaimed U.S. Premiere of With best wishes, John Cage’s Thirty Pieces for Five Orchestras with the St. Louis Symphony. Mills is a two-time recipient Krishna Thiagarajan of the Solti Foundation U.S. Career Assistance President & CEO Award. Originally from Montana, Mills received his Seattle Symphony | Benaroya Hall Graduate Performance Diploma and Artist Diploma in Orchestral Conducting at the Peabody Institute under the tutelage of Gustav Meier and Marin Alsop.

LINA GONZALEZ-GRANADOS Conducting Fellow Lina Gonzalez-Granados has firmly established herself as a talented conductor. Gonzalez-Granados is currently the Philadelphia Orchestra’s Conducting Fellow and was previously assistant conductor for the Chicago and Nashville Symphonies. She NOTA BENE recently made her guest conducting debut with WELCOME THOMAS DAUSGAARD The Seattle Symphony opened the season with the Orquesta Sinfónica de Colombia. In 2014, she two concerts featuring incoming Music Director Thomas Dausgaard. Following a founded Unitas Ensemble, a chamber orchestra performance of Mahler’s Symphony No. 1, Seattle Times critic Melinda Bargreen wrote specializing in Latin American music. Hailing from “the cheers rang out long and loudly for the first subscription concert of the Seattle Colombia, Gonzalez-Granados received her Symphony’s Thomas Dausgaard era.” master’s degree in Conducting and Graduate Diploma in Choral Conducting from New England Conservatory. She has studied with Bramwell FREE CONCERTS THIS MONTH The Seattle Symphony will perform two free side-by-side Tovey, Stefan Asbury, Erica Washburn and Charles concerts this month with local high school students. The orchestra will perform at Garfield Peltz. Gonzalez-Granados is currently pursuing High School on Tuesday, October 22 at 7pm and at Roosevelt High School on Thursday, her doctorate degree in Orchestral Conducting at October 24 at 7pm. Boston University.

10 SEATTLESYMPHONY.ORG October 2019 | Volume 33, No. 2 CELEBRATING BEETHOVEN at MEANY CENTER with pianist onatan iss

An Exploration of Beethoven’s Piano Sonatas

PART I: NOVEMBER 5 PART II: DECEMBER 11

“Biss unreels the music like a prayer to the universe.” —NPR

TICKETS MEANYCENTER.ORG PAUL HEPPNER President 206-543-4880 MIKE HATHAWAY Senior Vice President KAJSA PUCKETT Vice President, Sales & Marketing GENAY GENEREUX Accounting & Office Manager DESTINATION RETIREMENT Production Luxury Living in Sunny Sequim SUSAN PETERSON Vice President, Production JENNIFER SUGDEN Assistant Production Manager “Live in the Beauty of it all” ANA ALVIRA, STEVIE VANBRONKHORST Production Artists and Graphic Designers Sales MARILYN KALLINS, TERRI REED San Francisco/Bay Area Account Executives BRIEANNA HANSEN, AMELIA HEPPNER, ANN MANNING Seattle Area Account Executives CAROL YIP Sales Coordinator Marketing SHAUN SWICK Senior Designer & Digital Lead CIARA CAYA Marketing Coordinator

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encorespotlight.com 11 “AN INVITATION INTO MY WORLD”

Music Director Thomas Dausgaard on the season ahead By Catherine Nguyen

Thomas Dausgaard exudes a special energy; shares Thomas. “I find it very inspiring to think “I am always drawn to an element of one that marvels at the world around him. that we as an orchestra are a giver of life and context, so rethinking how to celebrate vitality for the community, offering spiritual the humanist ideals of Beethoven in a way “I love the way nature interacts with the city experiences which inspire on many levels, which meaningfully involves communities in of Seattle; you are never far from the water, with each program expressing something Seattle is incredibly stimulating, like creating and that means space, where you can feel about who we are and where we are going a completely new context.” the elements and the changes of light,” he together.” says. This same type of sensitive reflection is Thomas brings Beethoven to Seattle from a most certainly a part of his music as well. The Stravinsky Rite of Spring concert in place of deep passion — for the music and November fully encapsulates this sentiment. the people. Thomas is no stranger to Seattle. Our city The concept of inspiration will manifest in has been a home away from his native an exploration of the composer’s folk music “[In his Ninth Symphony,] Beethoven sets to Denmark for quite some time. He has been roots. Not only will audiences hear the iconic music the text by Schiller with the famous the Symphony’s Principal Guest Conductor Rite of Spring, they'll also gain a deeper line that ‘we shall all be brothers.’ [The since 2014. Together, he and the orchestra understanding of the music by hearing folk celebration presents] his music in the context achieved international acclaim with recordings music that inspired Stravinsky. of his brothers and sisters here in the United of Gustav Mahler’s Symphony No. 10 and Carl States, and, in particular, Seattle.” Nielsen’s Symphonies Nos. 3 and 4. Beethoven is another composer who wrote music close to Thomas’ heart. This The Seattle Symphony’s Beethoven 2020 Yet we’ve only seen a glimpse of his musical season marks the 250th anniversary of the Festival promises to be a major event for interests. So, at the start of his first season as composer’s birth. the community, culminating in season-long Music Director, we share more on Thomas’ creative work that puts community members musical identity and his vision for the season. Thomas and the Seattle Symphony are taking at the forefront. the celebration a step further: over three “This season is an invitation into my world, weeks in June, the orchestra will perform all The festival launches with the stories of local into some of the music which changed my nine of Beethoven's symphonies alongside a youth, composed and performed by teens life — music close to my heart and which has series of newly commissioned works created, from across King County led by composer played a continuous role in my musical life,” inspired or performed by the community. Angelique Poteat and Community Youth

12 SEATTLESYMPHONY.ORG Chorus director Megan McCormick. That same week the Seattle Symphony will give the world premiere of 2017 MacArthur Fellowship recipient — and Seattle Symphony 2019–2020 Composer in Residence — Tyshawn Sorey’s New Work for Cello & Orchestra featuring Artist in Residence Seth Parker Woods. Following that, members of regional native tribes will premiere Potlatch Symphony 2020 with composer Janice Giteck, featuring the return of violinist Swil Kanim and native flutist Paul Chiyokten Wagner. A world premiere composed by clients at Northwest Center for People of All Abilities and composer Charles Corey will be featured on the fourth festival concert.

Thomas adds, “Beethoven was my gateway to classical music. When I was about 10 I formed a rock band together with three other boys. I loved it. But when I first heard Beethoven’s Pathétique Sonata about a year later there was no way back. The rock band disbanded and I reveled in Beethoven, listening to and playing all I could get hold of. I feel a connection to his music, and in some way I felt understood through it. And it opened my ears to all those composers who had inspired him — and to those he inspired afterwards. His music had an elemental force, it was Photo: KaryaPhoto: Schanilec larger than life, and it had a humanity and warmth. I couldn’t imagine a life without it.”

This season Thomas invites us to explore his most formative music, letting us inside his musical identity and showcasing his personal touch and artistry.

As music inspires Thomas, he is sure to pass on the same to Seattle. We look forward to seeing him step on the podium and begin his new journey with the Symphony.

Reprinted from September 2019, Volume 33, No. 1. Patoc Brandon Photo:

SEE THOMAS IN ACTION! October 9 November 21 & 23 February 6 & 8 Lang Lang with the Seattle Symphony Stravinsky The Rite of Spring Dvořák Symphony No. 8 SIBELIUS Andante festivo SCRIABIN The Poem of Ecstasy TCHAIKOVSKY Romeo and Juliet Fantasy Overture BEETHOVEN Piano Concerto No. 2 “The roots: Stravinsky’s Inspirations” Lang Lang, piano Juliana & PAVA, folk ensemble WEINBERG Violin Concerto Gidon Kremer, violin MOZART Symphony No. 41, “Jupiter” STRAVINSKY The Rite of Spring Lang Lang’s performances are generously Thomas Dausgaard’s performances are generously DVOŘÁK Symphony No. 8 underwritten by the Nakajima Family through the underwritten by Grant and Dorrit Saviers. Thomas Dausgaard’s performances are Seattle Symphony’s Guest Artists Circle. Additional support is provided by the Scan|Design generously underwritten by Ilene and Elwood Foundation by Inner and Jens Bruun. Hertzog. Additional support is provided by the Scan|Design Foundation by Inner and Jens Bruun. October 10 & 12 Mozart Jupiter Symphony January 30 & February 1 SAVE THE DATE! J.S. BACH Brandenburg Concerto No. 4 Shostakovich Violin Concerto No. 1 June 11–28 GRIEG Peer Gynt Suite No. 1 OLGA NEUWIRTH Aello – ballet mécanomorphe Beethoven Festival (U.S. Premiere) SHOSTAKOVICH Violin Concerto No. 1 Anthony Dean Griffey’s performances are Claire Chase, flute Patricia Kopatchinskaja, violin supported in part by the Melvyn Poll Tenor Fund. MOZART Symphony No. 41, “Jupiter” NIELSEN Symphony No. 1 Beethoven Festival concerts are supported in Claire Chase’s performances are generously Thomas Dausgaard’s performances are generously part by a generous grant from the American underwritten by Dale and Leslie Chihuly through underwritten by Charles and Maria Schweizer. Orchestras’ Future Fund, a program of the League the Seattle Symphony’s Guest Artists Circle. Additional support is provided by the Scan|Design of American Orchestras made possible by funding Foundation by Inner and Jens Bruun. from the Ann and Gordon Getty Foundation.

encorespotlight.com 13 10/9 WEDNESDAY, OCTOBER 9, 2019, AT 7:30PM PROGRAM NOTES Lang Lang with the JEAN SIBELIUS Seattle Symphony Andante festivo SPECIAL PERFORMANCES BORN December 8, 1865, in Hämeenlinna, Grand Duchy of Finland Thomas Dausgaard, conductor DIED September 20, 1957, in Ainola, Finland WORK COMPOSED String quartet in 1922, string Lang Lang, piano orchestra in 1938 Seattle Symphony WORLD PREMIERE January 1, 1939 (string orchestra version) JEAN SIBELIUS Andante festivo 5’

LUDWIG VAN BEETHOVEN Piano Concerto No. 2 in B-flat major, Op. 19 28’ What to Listen For: Allegro con brio The melody throughout is simple Adagio and hymn-like. Listen for how Rondo: Molto allegro Sibelius uses the string orchestra to climb LANG LANG, PIANO to a gradual, triumphant climax. INTERMISSION 20' WOLFGANG Symphony No. 41 in C major, K. 551, “Jupiter” 31’ The early 20th century was ripe with AMADEUS MOZART Allegro vivace musical possibilities. Most composers Andante cantabile turned away from the intense emotions Menuetto: Allegretto of the Romantic era but Jean Sibelius Molto allegro rejected this new experimentation. Sibelius was innovative in his own right, but he held Lang Lang’s performance is generously underwritten by the Nakajima Family through the that music should remain accessible. The Seattle Symphony’s Guest Artists Circle. Finland native once famously compared

Please note that the timings provided for this concert are approximate. himself to other composers of the time: Please turn off all electronic devices and refrain from taking photos or video. “Whereas most other modern composers Performance ©2019 Seattle Symphony. Copying of any performance by camera, audio or video recording are engaged in manufacturing cocktails equipment, and any other use of such copying devices during a performance is prohibited. of every hue and description, I offer the public cold spring water.”

The chance to share his “cold spring water” worldwide occurred in the late 1930s as New York Times critic Olin Downes asked Sibelius to compose a piece for the New York Exhibition that would broadcast internationally. The radio broadcast, which Downes framed as Finland’s greeting to the world, would be a short piece meant to captivate listeners and demonstrate the abilities of orchestral radio music. Sibelius seized on the opportunity and reorchestrated his Andante festivo, which he first composed in 1922 for a string quartet. The new orchestration of the piece broadcast on January 1, 1939 and featured a string orchestra with timpani.

LUDWIG VAN BEETHOVEN Piano Concerto No. 2 in B-flat major, Op. 19

BORN December 16, 1770 in Bonn, Germany DIED March 26, 1827 in Vienna, Austria WORK COMPOSED Sketches in 1788, completed 1794–95 WORLD PREMIERE Possibly March 29, 1795

14 SEATTLESYMPHONY.ORG CONNECTING COMMUNITIES IN THE AIR AND ON THE GROUND. Proud to support the Seattle Symphony. THTHOMASOMAS DA DAUSGAUSGAARARD, MUSICD, MUSIC DIRECT DIRECTOROR

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gradually to engross Mozart’s whole WOLFGANG AMADEUS attention; turning quietly to the bystanders, What to Listen For he said emphatically, ‘Mark that young MOZART Melodies during this period were man; he will make himself a name in Symphony No. 41 in C major, K. 551, expected to be pleasing and the world!’” Though Jahn provided no “Jupiter” symmetrical. This type of music, known as evidence to substantiate his claim, this the galant style, is meant to appeal to a story’s depiction of a young Beethoven BORN January 27, 1756, in Salzburg, Austria wide audience and service human needs revering Mozart provides plenty of fodder DIED December 5, 1791, in Vienna, Austria and emotions. for the imagination. Beethoven did, in fact, WORK COMPOSED 1788 desire to work under Mozart’s tutelage WORLD PREMIERE Unknown but the composer’s untimely illness and The first LP I bought was subsequent death lead to Beethoven Beethoven’s second and instead studying under another master of What to Listen For third piano concertos, and I listened the galant style, Joseph Haydn. The final movement features an to them endlessly, feeling energized exuberant, descending line in the from every listen. No. 2 has a boldness, Beethoven officially moved to Vienna in strings that sounds like lightning. Imagine a directness and humour which I find 1792 to study with Haydn and continued the Roman God Jupiter throwing lightning irresistible. And then towards the end work on his Piano Concerto No. 2 in B-flat from above as you hear Mozart’s “of the second movement it explores the major, Op. 19. Some confusion remains as triumphant conclusion to his symphony. elemental musical power of silence in to the order of Beethoven’s concertos as the most delicate way; as if the music he composed the Piano Concerto No. 2 first, but it was published after his Piano is about to disintegrate, small motifs I think Mozart is underrated. His Concerto No. 1. Beethoven premiered the in the piano and hushed responses in music is used as anonymous, composition soon after its publication, the orchestra are interrupted magically inoffensive background music or fillers in performing himself as the soloist in or even uncomfortably by rests, as concerts. Like Easy Listening. And yes, Vienna’s Burgtheater. if time itself is about to come to a it can pass by in an undisturbing way if complete halt. The concerto follows the Viennese you let it. But once you allow it to unfold Classical form, providing the audience with in your ears, it has free-flowing richness, “endlessly inspired. Nielsen said admiringly – Thomas Dausgaard three contrasting movements of fast–slow– fast. The first movement exudes energy of him that Mozart composed with the and showcases Beethoven’s grasp of the sure-footedness of a sleep-walker. Yes, Throughout the late 18th century, an galant style with its exuberant opening he never stumbles. In his music he turns intellectual movement known as the theme and song-like second melody. water into wine, potentially banal music is Enlightenment ”swept across Europe, As was traditional, Beethoven followed turned into something sublime. Perhaps stirring dreams of progress and a pursuit of sonata-allegro form, a musical structure that is part of the reason why Mahler’s A SYMPHONY FOR reason. In many ways, the Enlightenment commonly found in the first movements of “banalities” in his own symphonies stood as a humanitarian movement and symphonies and concertos. In a concerto created such opposition until recently? required the ruler of Austria, the Holy sonata-allegro form, the orchestra plays But like Mahler, Mozart’s music explores a Roman Emperor Joseph II, to advocate for first, laying out the thematic material doubleness — perhaps seemingly happy TODAY AND TOMORROW social justice and the betterment of society. that the soloist would then repeat and on the surface but with sometimes very These ideals seeped into all aspects of life, expand upon in its exposition. Together, different undercurrents, so that altogether Your Gift to the Seattle Symphony Endowment including music. Public concerts became the pianist and orchestra then move into a it can feel melancholic. It can be like an more popular with the ever-growing middle developmental section, meant to transform endlessly turning head or kaleidoscope, class, which offered new opportunities for and play with the original themes. A where for every slightest turn you realise up-and-coming musicians. Furthermore, recapitulation brings the thematic material something new. The “Jupiter” Symphony DID YOU KNOW? ANNUAL FUND OR ENDOWMENT? the aesthetics of music changed to portray back in the original key and provides a is carried by an almost explosive A robust endowment is the financial foundation of every Annual Fund gifts are essential for maintaining the Enlightenment ideals of nature, reason, chance for the soloist’s virtuosity to shine creativity, a melting pot of inspiration from successful major American orchestra. artistic quality and funding the Symphony’s season of and individualism. through an elaborate cadenza. Continuing his own operas and church music, as to follow the galant style, Beethoven sets well as music by the older masters Bach When you make a donation to the Endowment your gift is concerts. A healthy endowment builds a foundation for Many well-known musicians are children his second movement as slow and lyrical, and Handel. held in perpetuity with annual earnings supporting the Seattle the future, helping to maintain a superb and enduring of the Enlightenment, but perhaps none showcasing the melodic abilities of the more so than Wolfgang Amadeus Mozart. piano. Finally, the third movement provides orchestra in our community. – Thomas Dausgaard Symphony’s outstanding music and musicians, vital community Many music historians speculate that an exhilarating ending, exhibiting the and education programs, and bold artistic initiatives. Beethoven and Mozart met during the soloist’s abilities in a dramatic climax to former’s visit to Vienna in 1787, though the concerto. In many ways, Beethoven’s As the Enlightenment transformed You can donate today or make your gift to the Endowment A STRONG ENDOWMENT PROVIDES no official documentation exists. A 19th- Piano Concerto No. 2 is an archetype of Viennese culture in the eighteenth- through your will or estate plans. century biographer of Beethoven, Otto FINANCIAL SECURITY AND RESILIENCE. the Viennese Classical era, but its dramatic century, music” adapted. An increased Jahn, suggested that the two met at a themes hints at the heroic Beethoven yet focus on public concerts brought new concert and Mozart was enthralled with to come. opportunities for orchestral compositions Beethoven’s skill: “Beethoven begged for that led to the growth in popularity of the a theme for improvisation, and, inspired symphony. Many regard Joseph Haydn by the presence of the master he revered as the father of the symphony and his To learn more about the Endowment, please contact Becky Kowals at [email protected] or 206.215.4852. so highly, played in such a manner as

encorespotlight.com 17 PROGRAM NOTES contributions to the genre (over 100 works!) his career in Vienna. By the 1780s, Mozart In the summer of 1788, Mozart successfully helped establish the Viennese Classical was famous. After meeting Haydn in 1784, completed three symphonies — a feat symphonic structure. Throughout this time the older composer celebrated Mozart’s that was potentially inspired by the recent period, many symphonies followed the compositional prowess: “If I could only publication of Haydn’s “Paris” symphonies. same formula: a buoyant first movement set impress on the soul of every friend of music, The last of these works, Symphony in sonata-allegro form; a lyrical, slow second and on high personages in particular, how No. 41 in C major, K. 551, stands as the movement; a dance-centric third movement; inimitable are Mozart’s works, how profound, composer’s colossal final work in the and a grand and thrilling finale. Combined, how musically intelligent, how extraordinarily genre as he would die three years later these four movements would provide plenty sensitive! (for this is how I understand them, at the young age of 35. The piece, which of thematic content and contrast meant to how I feel them) — why then the nations was nicknamed “Jupiter” by musician captivate and enthrall an audience. would vie with each other to possess such a Johann Peter Salomon, embodies the jewel within their frontiers.” Viennese Classical symphonic form. The Though he was popular for much more first movement, set in sonata-allegro form, than his symphonic compositions, Wolfgang Though Mozart experienced great begins in a burst of joy and is full of vitality Amadeus Mozart still remains known as success publicly, his personal life became and excitement while the second provides one of the greatest orchestral composers increasingly fraught and soon affected his a pleasing, sonorous, and purely-Mozart in history. Mozart composed 41 symphonies work. Between the apex of his career in melody. Following Haydn’s example, during his lifetime, beginning Symphony 1785 and 1788 Mozart encountered multiple Mozart sets the third movement as a No. 1 when he was only eight years old. tragedies, including the death of Leopold dance. The fourth movement, however, The wunderkind’s childhood was abnormal as well as three of his infant children. is the summit of Mozart’s symphonic as he displayed an extraordinary talent Furthermore, financial struggles from compositions. Five vibrant themes open for music at such a young age. His father, gambling and household mismanagement the movement, develop throughout, and Leopold Mozart, toured his son and plagued him and his wife, Constanze. then return in the recapitulation where daughter Nannerl across Europe as musical Their debts continued to grow even Mozart layers them together in a complex, prodigies, bringing them into the courts though Mozart’s compositional output was fugal coda. This ending, intricately crafted Bavaria, Vienna, Prague and London. As extraordinary (premiering both The Marriage and melodically remarkable, stands as Mozart matured, he left his family home of of Figaro and Don Giovanni during these a transcendent finale in one of history’s Salzburg and moved to continue pursuing years). greatest symphonic works.

LANG LANG Piano

Lang Lang is a leading figure in classical music today – as a pianist, educator and philanthropist he has become one of the world’s most influential and committed Photo: Gregor Hohenberg Gregor Photo: ambassadors for the arts in the 21st century. Equally happy playing for billions of viewers at the 2008 Olympic Opening Ceremony in Beijing or just for a few hundred children in the public schools, he is a master of communicating through music.

Heralded as “the hottest artist on the classical music planet” by The New York Times, Lang Lang plays sold-out concerts all over the world. He has formed ongoing collaborations with conductors including Sir Simon Rattle, Gustavo Dudamel, Daniel Barenboim and Christoph Eschenbach and performs with all the world’s top orchestras.

18 SEATTLESYMPHONY.ORG THOMAS DAUSGAARD, MUSIC DIRECTOR Photo: Patoc Brandon

“Going to the Symphony is always a special event for us. We love the music and the conversations we get to share after each performance. We give back so others can enjoy these special experiences too.” – Matt & Claire

JOIN MATT AND CLAIRE BY MAKING YOUR GIFT FOR SYMPHONIC MUSIC TODAY! Concerts like the one you are about to enjoy are only possible through the support of generous music lovers like you. SEATTLESYMPHONY.ORG/GIVE | 206.215.4832

encorespotlight.com 19 10/10–12 THURSDAY, OCTOBER 10, 2019, AT 7:30PM SATURDAY, OCTOBER 12, 2019, AT 8PM Mozart Jupiter Symphony The Scan|Design

Foundation Thomas Dausgaard, conductor proudly sponsors the Claire Chase, flute 2019–2020 concerts Seattle Symphony conducted by JOHANN SEBASTIAN BACH Brandenburg Concerto No. 4 17’ in G major, BWV 1049 Thomas Dausgaard. Allegro Andante Presto DEMARRE MCGILL, FLUTE The Scan|Design CLAIRE CHASE, FLUTE Foundation is NOAH GELLER, VIOLIN committed to fostering OLGA NEUWIRTH Aello - ballet mécanomorphe (U.S. Premiere) 18’ =ca.104— mutual understanding =ca.54— sub. =96 between Denmark CLAIRE CHASE, FLUTE and the U.S. through INTERMISSION 20' educational and WOLFGANG Symphony No. 41 in C major, K. 551, “Jupiter” 31’ AMADEUS MOZART Allegro vivace cultural activities. Andante cantabile Menuetto: Allegretto Molto allegro

On behalf of all the Pre-concert Talk one hour prior to the performance. Speaker: Thomas Dausgaard, Seattle Symphony Music Director and Claire Chase, flute proud Danes in the Ask the Artist on Saturday October 12 in the Samuel & Althea Stroum Grand Lobby Pacific Northwest, following the concert.

we are delighted to Program notes for Mozart’s Symphony No. 41 in C major, K. 551, “Jupiter” may be found welcome Thomas on pages 17 to 18..

Dausgaard as the new Claire Chase’s performances are generously underwritten by Dale and Leslie Chihuly through the Seattle Symphony’s Guest Artist Circle. Music Director of the Thomas Dausgaard's performances are sponsored by the Scan|Design Foundation by Inger Seattle Symphony. and Jens Bruun.

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 ©2019 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.

20 SEATTLESYMPHONY.ORG PROGRAM NOTES

JOHANN SEBASTIAN BACH contrasts between solos and tuttis, slow preferably an Olivetti Lettera 22! Its keys and fast-moving figurations, augmentation are used, alternating from the space bar Brandenburg Concerto No. 4 in G and diminution — and not least another to the shift keys and the return of the major, BWV 1049 spectacular and frenzied solo from carriage. Bach’s themes are translated into

BORN March 21, 1685, in Eisenach the violin. office sounds of the 20th century! Finally, the orchestra itself, placed in a semicircle, DIED July 28, 1750, in Leipzig is tiny: 6 violins, 2 violas, 2 cellos and no WORK COMPOSED circa 1721 double bass. WORLD PREMIERE Unknown OLGA NEUWIRTH Aello – ballet mécanomorphe To complete the transformation, Neuwirth tunes the group in 4 different pitches: Notes from Music Director BORN August 4, 1968, in Graz highest are the cellos (450 Hz), next the Thomas Dausgaard WORK COMPOSED 2017 flute, trumpets, first violins, violas and WORLD PREMIERE February 2018 in glass (443 Hz), then the synthesizer (434 In the Brandenburg Concertos, Bach Stockholm; Thomas Dausgaard conducting the Hz), and lowest the second violins revised and put together six of his best (430,6 Hz). Swedish Chamber Orchestra concertos to date in 1721 … the fact that so many of his cycles of works U.S. PREMIERE October 2019 in Seattle; As to the title Aello, the reference is to are conceived as groups of six gives Thomas Dausgaard conducting the Seattle “a bride of the wind, sent by the gods, us a clue to how to appreciate his Symphony to restore peace — if necessary, even unconventional use of solo instruments with force,” a matter, Neuwirth notes, not in the Brandenburg Concertos. Bach’s without contemporary relevance. The Notes from Music Director Brandenburg Concertos offered a new unusual quasi-dadaist sub-title ballet Thomas Dausgaard experience for the listener of the time who mécanomorphe — Ballet having the would be used to hearing all the solos form or quality of a machine — might by, for example, the concertmaster. In the Olga Neuwirth’s Aello – ballet explain how towards the end the work a Brandenburg Concertos a whole concerto mécanomorphe is simultaneously wild and mechanical sounding stampede spreads is now be dominated by two violas, or close to Bach. Its three movements and across all the instruments in a huge two flutes, or even by the harpsichord! their themes are moulded on Bach’s own, build-up (not unlike a song by the group Hierarchy has been dissolved and an sometimes even quite strictly. Yet it comes Radiohead), only to be cut off by a whiff alternative world-order presented. across as very free and unique — what of air on the flute — “Aello” — hopefully did she do? She puts the sound world of restoring piece. Brandenburg Concerto No. 4 is scored Bach through a veritable transformation: for three soloists: violin and two flutes, the “frustrated” violin turns into a flute who described as “flauti dolci” — and much becomes the dominant soloist; not unlike debated what that actually means (in in Steven Mackey’s Triceros and Anders some editions “fiauti d’echo”) — and Hillborg’s Bach Materia, Neuwirth’s soloist strings and continuo. The choice of is a multitasking superwoman switching soloists puts two extreme ends of the between flute and bass flute in the last hierarchy together: the concertmaster movement, and a magician displaying at the top, and at the bottom the flutes, a huge variety of colours and virtuoso either played by oboists as their second techniques throughout. Regarding Bach’s instrument in the military, or by amateur original flutes, Neuwirth suggests that flautists. To add insult to injury the flutes by fiauti d’echo Bach may have meant introduce all major themes in this work. a double pipe instrument, and this she replaces with two muted trumpets; the The first movement,Allegro , is an “royal” and macho-symbol trumpets extended variation on the musical ideas “castrated” by being mellowed and presented at the beginning, with the softened by playing with cup, harmon orchestra often reduced to playing and straight mutes. The most extensive a light accompanying role, making transformation is that of the harpsichord, room for delicate sounds of the flutes. splitting its characteristics up into several Unexpectedly the violin breaks into “instruments”; its capacity for brilliant several extended solos, one of which virtuosity is honoured by a synthesizer so incredibly fast as if to show all of his/ with harpsichord sound and in the her virtuosity — or frustration with the second movement with glass harmonica dominance of the flutes! — in a very short sound. The tingling harpsichord sound is time. The second movement, Andante, recreated by a battery-driven milk frother is a sarabande, alternating between held to a small triangle, alternatively by a tuttis and solos, with the violin solo water-filled wineglass pitched in E, and often reduced to playing a bass line to a reception bell. But the most humorous the flutes. The finalPresto is a brilliant idea is to isolate the plucking sound of the fugue, at the same time incorporating harpsichord by a (mechanic) typewriter,

encorespotlight.com 21 CLAIRE CHASE Flute

Claire Chase is a A MIDSUMMER soloist, collaborative artist, curator and advocate for new and NIGHT’S DREAM experimental music. Over the past decade BY WILLIAM SHAKESPEARE she has given the world premieres of Photo: David Michalek Michalek David Photo: hundreds of new works for the flute in performances throughout the Americas, Europe and Asia, and she has championed new music throughout the world by building organizations, forming alliances, pioneering commissioning initiatives and supporting educational programs that reach new audiences. She was named a MacArthur Fellow in 2012, and in 2017 was awarded the Avery Fisher Prize. In 2013 Chase launched Density 2036, a 23-year commissioning project to create an entirely new body of repertory for flute between 2014 and 2036, the centenary of Edgard Varèse’s groundbreaking 1936 flute solo, Density 21.5.

I often day-dream about how different the identity of the flute might be today if, say, Brahms, Beethoven, Schumann, Stravinsky, OCT 27 - 29 · SIFF FILM CENTER Sibelius and Berg had all written flute concertos. Can you imagine?! That’s not our story, obviously, but I like to fantasize “about a rewrite of our narrative as a AT TUESDAY, DECEMBER 3, 10AM way of imagining a path forward into NOV 10 - 12 · SIFF FILM CENTER SHERATON GRAND SEATTLE the 21st century that puts the flute back into the soloist hot-seat that it ebulliently enjoyed in the 18th century — and that pays homage to the instrument’s ancient Kick off the holidays at the Seattle Symphony’s history as the oldest surviving musical annual Holiday Musical Salute, featuring fabulous instrument. In a courageous way, Olga pop-up gift shops and a concert of seasonal favorites Neuwirth has accepted this challenge with the Seattle Symphony, conductor Jacomo with Aello. Bairos, Young Artist Stephen Leou and Northwest Boychoir Apprentices. I’m indebted to Olga for her fearlessness and for her uncompromising musical Hansard This popular holiday tradition includes a hot cider vision, and to Maestro Dausgaard for reception and luncheon, all to benefit the Seattle bringing the piece so joyously into by Simon Woods Symphony’s Players’ Pension Plan. It’s the perfect way being at its premiere with the Swedish to start your holiday season! Chamber Orchestra last season. As in the Bach on which the concerto is based, the relationship between soloist and SUPPORTING SPONSOR: orchestra in Aello is a kind of high-wire Holland America Line chamber music partnership, propelled both by adrenaline and by deep FROM $125 listening to one another in the moment 206.215.4753 | SEATTLESYMPHONY.ORG/HMS of making music, and I’m incredibly excited to embark on this journey with amazing musicians of the Seattle Symphony!

THOMAS DAUSGAARD, MUSIC DIRECTOR – Claire Chase For tickets and info visit siff.net 22 SEATTLESYMPHONY.ORG ” A MIDSUMMER NIGHT’S DREAM BY WILLIAM SHAKESPEARE

OCT 27 - 29 · SIFF FILM CENTER

NOV 10 - 12 · SIFF FILM CENTER Hansard by Simon Woods

For tickets and info visit siff.net encorespotlight.com 23 10/17–20 THURSDAY, OCTOBER 17, 2019, AT 7:30PM SATURDAY, OCTOBER 19, 2019, AT 8PM SUNDAY, OCTOBER 20, 2019, AT 2PM Concert sponsored in memory of Mozart Requiem

TORU TAKEMITSU Requiem for String Orchestra 10’

KARL AMADEUS HARTMANN Concerto funèbre 20’ Introduction (Largo)— Adagio— Allegro di molto— Choral (Langsamer Marsch) NOAH GELLER, VIOLIN INTERMISSION 20’ Kathryn Light Dunn WOLFGANG Requiem, K. 626 (Seattle Premiere) 46’ AMADEUS MOZART Introitus: Requiem— 1926–2018 completed & edited Kyrie by Masato Suzuki Sequentia Dies irae Tuba mirum Rex tremendae This performance is Recordare generously underwritten Confutatis— by Dana and Ned Laird to Lacrimosa— honor the memory of Dana’s Amen mother, Kathryn Light Dunn. Offertorium Domine Jesu Kathryn was a lyric soprano Hostias soloist who specialized Sanctus in oratorio. She started Benedictus performing at age fourteen Agnus Dei— and went on to be a guest Communio soloist with the Dallas Lux aeterna Symphony, the Abilene JOANNE LUNN, SOPRANO Symphony and The ROXANA CONSTANTINESCU, MEZZO-SOPRANO Philharmonic Orchestra of LAWRENCE WILIFORD, TENOR Indianapolis, and performed MORGAN SMITH, BARITONE with many church choirs. SEATTLE SYMPHONY CHORALE Her family remembers her Pre-concert Talk one hour prior to the performance. singing Mozart Requiem Speaker: Dr. Gary D. Cannon, Artistic Director of the Emerald Ensemble, Cascadian which was one of her Chorale and Vashon Island Chorale favorites. Masaaki Suzuki’s performances are generously underwritten by the Atsuhiko and Ina Goodwin We hope you enjoy this Tateuchi Foundation through the Seattle Symphony’s Guest Artists Circle. beloved requiem, performed by our wonderful orchestra, Concertmaster Noah Geller’s performances are generously underwritten by Sue and Robert Collett through the Seattle Symphony’s Principal Musicians Circle. soloists and guest conductor. Performances of Mozart Requiem are generously underwritten by Dana and Ned Laird. In Kathryn’s memory, Please note that the timings provided for this concert are approximate. Please turn off all electronic devices and refrain from taking photos or video. Dana and Ned Laird Performance ©2019 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.

24 SEATTLESYMPHONY.ORG PROGRAM NOTES

TORU TAKEMITSU The music is marked by an intense lyricism, Hartmann wrote this last work quickly lushly dissonant harmonies (this is no following Germany’s invasion of Poland Requiem for String Orchestra contradiction with Takemitsu), and the use and the outbreak of World War II. “My BORN October 8, 1930, in Tokyo of yearning, elegiac motifs. For this and the Concerto funèbre was composed in the careful shaping of the music, Takemitsu’s autumn of 1939,” Hartmann later noted. “I DIED February 20, 1996, in Tokyo Requiem was pronounced “a masterpiece” wanted to write down all that I thought and WORK COMPOSED 1957 by no less a discerning judge than Igor felt, and this determined the work’s form WORLD PREMIERE June 1957 in Tokyo; Stravinsky when he heard it, in 1959. and tone.” That tone is dark, as we might Masashi Ueda conducted the Tokyo expect from a work whose title translates Symphony Orchestra Scored for string orchestra. “Funereal Concerto.” The two principal movements are a disconsolate lament KARL AMADEUS HARTMANN and a furious Allegro. Framing them are a What to Listen For prelude and epilogue that Hartmann calls Concerto funèbre Among the special playing Chorales. All four sections are linked to techniques that expand the palette BORN August 2, 1905, in Munich form an unbroken span of music. of string sonorities in this piece are DIED December 5, 1963, in Munich harmonics (high, glassy tones produced by The composition opens with a stark three- WORK COMPOSED 1939 special finger pressure) andsul ponticello note motif played by the entire ensemble. WORLD PREMIERE 1940 (the exact date is not (playing near the bridge that supports Between treatment of this motif by the the strings). recorded) in the Swiss town of Saint Galen. string orchestra, the solo violin declaims Ernst Klug conducted; the soloist is unknown. simple phrases within a narrow compass. Before long, a dramatic tremolo figure The Japanese composer Toru Takemitsu leads into the second movement. Here the was one of the most fascinating musicians What to Listen For solo part grows more expressive, tracing of recent decades. A prolific creator of The three-note figure of the opening long, arching lines and leaping across wide orchestral pieces, chamber music and film moments recurs repeatedly during melodic intervals. The string orchestra, scores, Takemitsu was as fluent in writing the first Chorale. It also provides, in varied meanwhile, contributes dirge-like music for Western symphonic instruments and form, much of the substance of the ensuing based on the three-note motif of electronic synthesizers as any composer Adagio and reappears in the finale. the prelude. in Europe or America. At the same time, his preference for sensuous sonorities (by By contrast, the Allegro third movement turns delicate and effusive), for alternately The events of World War II prompted is built on brutal rhythmic figures. The refined and dramatic aural gestures, for musical response by many composers. music’s development assumes a frenzied silence and for rhythmic fluidity revealed a Among the most famous are character, and there is no mistaking decidedly Japanese sensibility. Shostakovich’s “Leningrad” Symphony its demonic martial quality. Eventually, and Prokofiev’s Fifth Symphony; Arnold however, the movement subsides to a For the most part, Takemitsu did not Schoenberg’s cantata A Survivor from quiet conclusion. juxtapose the two musical worlds he Warsaw; Benjamin Britten’s War Requiem; The final Chorale brings a great lyrical inhabited so much as he blended them, Kryztof Penderecki’s Threnody for the outpouring that includes a recollection of and one can rarely define a piece, or even Victims of Hiroshima; and Karl Amadeus the three-note figure of the work’s opening a passage, by the composer as being Hartmann’s Concerto funèbre. either essentially Japanese or Western. moments. Once again, the tone is deeply Instead, the two tributary streams of his Born in Munich, in 1905, Hartmann elegiac, but the closing moments introduce work merge into an indistinguishable composed in a style that drew on a hopeful note, as the harmonies turn unity, the Japanese qualities in his works modernist ideas while retaining a depth of tender, the solo violin sings consolingly combining seamlessly with a cosmopolitan feeling reminiscent of the late-Romantic and a strong D major chord sounds in the modern aesthetic. composers. Although he remained in final measure. his native city after Hitler seized power, Scored for solo violin and strings. Takemitsu established his reputation in 1933, he found the Nazi regime with his first large-scale composition, repugnant and, in protest, refused German Requiem for String Orchestra, written in performances of his music from 1933 until WOLFGANG AMADEUS 1957 in memory of another Japanese the end of the Second World War. (Most MOZART composer, Fumio Hayasaka. In this work, of his premieres during the 1930s took Takemitsu’s sensitive use of the string choir place in Switzerland.) Hartmann’s work Requiem, K. 626 draws forth a wide range of sonorities from this period reflects his feelings about BORN January 27, 1756, in Salzburg from an ostensibly monochromatic the political and human condition around DIED December 5, 1791, in Vienna ensemble. Muted and unmuted playing him. The general tenor of those feelings are juxtaposed, as are solo lines and rich can be gathered from some of the titles WORK COMPOSED 1791 chordal passages. Exceptional sonorities, of his compositions from the Nazi years. WORLD PREMIERE December 14, 1793, at the produced by exceptional playing These include Miserae, Sinfonia Tragica, estate of Count Franz Georg Walsegg, near techniques, create striking aural colors. Klagegesang (or Song of Sorrow, later Vienna, under the Count’s direction transformed into his Third Symphony) and . Concerto funèbre.

encorespotlight.com 25 PROGRAM NOTES

concentrated work on the piece. But by A great deal of this is, at best, only November 20 he had fallen seriously ill and circumstantially supported by what we know What to Listen For took to bed. Two weeks later, on December of Mozart’s final weeks. Ultimately, nothing Mozart worked on his setting of the 5, he died, his work on the mass only partly about the composer’s state of mind during Requiem Mass during the last weeks done. Not wishing to forfeit the fee that had the time he composed the Requiem can be of his life. According to legend, first phrase accompanied the mysterious commission, conclusively proven. We do know, however, of the Lacrymosa section (through the Constanze Weber Mozart, the composer’s that Mozart’s anonymous benefactor words “judicandus homo reus”) was the last widow, asked one of her husband’s was one Count Franz Georg Walsegg, a music the dying composer wrote. students, Franz Xaver Süssmayr, to complete dilettante musician who indulged in the the score. Thanks to his efforts, she was dubious practice of commissioning works able to deliver the mass as promised. from competent composers and passing The genesis of Mozart’s final composition, them off as his own. He had lost his wife, his Requiem mass, is veiled in uncertainty Mozart was scarcely in his grave before and the requiem he purchased from Mozart and romantic fiction. Indeed, since the 19th various persons began to speculate on the was to be performed in her memory at century, this work has acquired so heavy a coincidence of his composing a Mass for his estate, the Count taking credit for its gloss of legend that it now requires some the Dead while he himself was fatally ill, and composition. Mozart knew nothing of this. effort to consider objectively the music and to embellish, in light of this, what they knew the circumstances in which it about his final days. It was proposed that the Further controversy has surrounded was composed. composer was beset with presentiments of Süssmayr’s completion of the score, death and became convinced that in writing which entailed composition of the Sanctus The facts concerning those circumstances the Requiem he was actually composing and Benedictus sections and parts of are as follows. In July 1791 an anonymous his own funeral music; that the messenger the Lacrymosa and Agnus Dei. Some gentleman sent a messenger to Mozart, who brought the commission was “a tall, commentators have alleged a lower level requesting the composition of a requiem thin, grave-looking man,” and that Mozart of inspiration in these sections, yet no less mass. Peculiarly, his commission stipulated believed that he was a spectral emissary an authority than Beethoven declared that that the composer attempt to discover from the next world; that the composer “if Mozart did not write this music, then neither the occasion for the work’s worked feverishly at the Requiem on his the man who wrote it was a Mozart.” Our performance nor his patron’s identity. Mozart death bed, dictating passages with his performance uses an edition of the work accepted the assignment and soon began dying breath. created by our conductor, Masaaki Suzuki, and his son, Masato Suzuki. It departs from Süssmayr’s version chiefly in matters of orchestration and the addition of a short fugal Amen, based on a fragment by Mozart, following the Lacrymosa.

For all the urgency and even drama that attend certain passages, Mozart’s music Tax-wise ways to support lacks the apocalyptic tone we hear in the settings of the requiem verses by Berlioz the symphonic music you love and Verdi. This is more than a matter of Mozart using a smaller orchestra, one that imparts a particularly mellow timbre. It also Donating to the Seattle Symphony through stock or via a direct reflects Mozart’s quite different attitude toward mortality. Some idea of this may be transfer from your IRA is both generous and tax-efficient! gleaned from a letter the composer wrote Great ways to give: to his father in 1787. In it, Mozart speaks of ■ Gifts of appreciated stock you’ve held over one year can result in death as “the true goal of our existence ... [the] best and truest friend of mankind, ... a charitable deduction and save on capital gains tax. [something] very soothing and consoling.” ■ The IRA Charitable Rollover is here to stay, so if you’re 70 ½ The music of his Requiem is precisely this, “soothing and consoling,” its profound years or older, you can donate through a tax-free transfer and beauty overcoming any sense of desolation count it as your required minimum distribution. and serving to put us on more intimate terms with our “best and truest friend.” Thank you for your support of the Seattle Symphony! Mozart, during his all-too-early maturity, may have felt no higher artistic purpose.

Scored for soprano, mezzo-soprano, tenor and baritone soloists; mixed chorus; 2 basset horns; 2 bassoons; 2 trumpets; 3 trombones; timpani; To learn more about tax-wise giving, contact Becky Kowals at organ; strings. 206.215.4852 or [email protected]. © 2019 Paul Schiavo

26 SEATTLESYMPHONY.ORG Town Hall Seattle presents Town Music 2019-20 Championing classical canon and cutting-edge repertoire.

9/22 “You Had Me At Cello” A quartet of Seattle Symphony cellists showcase their range with classic and modern pieces.

11/25 “Piano Ki Avaaz” Joshua Roman (cello), David Fung (piano), and Kristin Lee (violin) debut a newly commissioned work by Indian-American composer Reena Esmail.

1/19 Catalyst Quartet This genre-defying ensemble presents “Hemispheres: South America,” spanning nearly 100 years of quartet music by South American composers.

4/8 yMusic This sextet brings their virtuosic execution and unique configuration (string trio, flute, clarinet, and trumpet) to reimagine the classical genre and style.

5/20 Spektral Quartet This Grammy-nominated group pursues vivid conversation between works of musical canon and pieces written this decade, this year, or this week. thsea.org/town-music Joshua Roman Series Artistic Director TEXT & TRANSLATION

Wolfgang Amadeus Mozart: Requiem, K. 626

INTROITUS INTROITUS Confutatis Requiem Requiem Confutatis maledictis, Requiem aeternam dona eis, Domine, Eternal rest grant unto them, O Lord, flammis acribus addictis, et lux perpetua luceat eis. and let perpetual light shine upon them. voca me cum benedictis. Te decet hymnus, Deus, in Sion, You shall have praise, O God, in Zion, Oro supplex et acclinis, et tibi reddetur votum in Jerusalem. and a prayer shall go up to You in Jerusalem. cor contritum quasi cinis, Exaudi orationem meam, Hear my prayer. gere curam mei finis. ad te omnis caro veniet. All flesh shall come before You. Requiem aeternam dona eis, Domine, Eternal rest give unto them, O Lord, Lacrimosa et lux perpetua luceat eis. And let perpetual light shine upon them. Lacrimosa dies illa qua resurget ex favilla KYRIE KYRIE judicandus homo reus. Kyrie eleison, Lord have mercy, Huic ergo parce, Deus, Christe eleison, Christ have mercy, pie Jesu, Domine, Kyrie eleison. Lord have mercy. dona eis requiem. Amen. SEQUENZ SEQUENZ Dies irae Dies irae OFFERTORIUM Dies irae, dies illa, This day, this day of wrath Domine Jesu solvet saeclum in favilla, shall consume the world in ashes, Domine Jesu Christe, Rex gloriae, teste David cum Sibylla. as foretold by David and the Sibyl. libera animas omnium fidelium defunctorum Quantus tremor est futurus, What fear there shall be, de poenis inferni quando judex est venturus, when the Judge shall come et de profundo lacu. cuncta stricte discussurus. to weigh everything severely. Libera eas de ore leonis, ne absorbeat eas tartarus, Tuba mirum Tuba mirum ne cadant in obscurum; Tuba mirum spargens sonum, The trumpet, casting its wondrous sound sed signifier sanctus Michael per sepulchra regionum, across the graves of all lands, repraesentet eas in lucem sanctam, coget onmes ante thronum. summons all before the throne. quam olim Abrahae promisisti Mors stupebit et natura, Death and nature shall be astounded et semini ejus. cum resurget creatura, when mankind arises judicanti responsura. to give account before the Judge. Hostias Liber scriptus proferetur, The written book shall be brought Hostias et preces tibi, Domine, in quo totum continetur, in which all is recorded laudis offerimus: unde mundus judicetur. whereby the world shall be judged. Tu suscipe pro animabus illis, Judex ergo cum sedebit When the Judge takes His seat quarum hodie memoriam facimus: quidquid latet apparebit, all that is concealed shall appear, Fac eas, Domine, de morte nil inultum remanebit. nothing shall remain unavenged. transire ad vitam, Quid sum miser tunc dicturus? What shall I, a frail man, say then? quam olim Abrahae promisisti Quem patronum rogaturus, To which protector shall I appeal et semini ejus. cum vix justus sit securus? when even the just man is scarcely safe? SANCTUS Rex tremendae Rex tremendae Sanctus, sanctus, sanctus, Rex tremendae majestatis, King of awful majesty, Dominus Deus Sabaoth. qui salvandos salvas gratis, Who freely saves those worthy of salvation, Pleni sunt coeli et terra gloria tua. salva me, fons pietatis. save me, fount of mercy. Osanna in excelsis!

Recordare Recordare BENEDICTUS Recordare, Jesu pie, Remember, gentle Jesus, Benedictus qui venit in nomine Domini. quod sum causa tuae viae, that I am the reason for Your earthly life, Osanna in excelsis! ne me perdas illa die. do not cast me out on that day. Quaerens me, sedisti lassus, Seeking me, You sank down wearily, AGNUS DEI redemisti crucem passus; You have saved me by enduring the cross: Agnus Dei, qui tollis peccata mundi, tantus labor non sit cassus. Such travail must not be in vain. dona eis requiem. Juste judex ultionis, Righteous Judge of vengeance, Agnus Dei, qui tollis peccata mundi, donum fac remissionis award the gift of forgiveness dona eis requiem sempiternam. ante diem rationis. before the day of reckoning. Ingemisco tamquam reus, I groan, like the sinner that I am, COMMUNIO culpa rubet vultus meus, guilt reddens my face: Lux aeterna supplicanti parce, Deus. Spare the supplicant, O God. Lux aeterna luceat eis, Domine, Qui Mariam absolvisti You, who pardoned Mary cum sanctis tuis in aeternum, et latronem exaudisti and heeded the thief, quia pius es. mihi quoque spem dedisti. have given me hope as well. Requiem aeternam dona eis, Domine, Preces meae non sunt dignae, My prayers are unworthy, et lux perpetua luceat eis. sed tu bonus fac benigne, but You, who are good, in pity, Cum sanctis tuis in aeternum, ne perenni cremer igne. do not let me burn in the eternal fire. quia pius es. Inter oves locum praesta Give me a place among the sheep et ab haedis me sequestra, and separate me from the goats, statuens in parte dextra. let me stand at Your right hand.

28 SEATTLESYMPHONY.ORG MASAAKI SUZUKI JOANNE LUNN TEXT & TRANSLATION Conductor Soprano Since founding Bach Joanne Lunn’s recent Collegium Japan in highlights include 1990, Masaaki Suzuki Handel Silete Venti and has established himself Il Delirio amoroso with Confutatis as a leading authority the Irish Baroque When the damned are cast away, on the works of Bach. Orchestra, Mass in B and consigned to the searing flames, call me to be with the blessed. minor on tour in France Bowed down in supplication I beg You, Suzuki combines his and Germany with Photo: Redpath Photo: Photo: Marco Borggreve Marco Photo: my heart as though ground to ashes, conducting career with Ensemble Pygmalion, help me in my final hour. his work as an organist and harpsichordist. L’Allegro at Kölner Philharmonie with Kölner Kammerorchester and St. John Lacrimosa He graduated from the Tokyo University This day of tears of Fine Arts and Music and studied at the Passion both in Essen and with the when from the ashes arises Sweelinck Conservatory in Amsterdam. Gewandhausorchester in Leipzig. a guilty man, to be judged. Founder and Professor Emeritus at the Have mercy upon him, O Lord, Tokyo University of the Arts, he was Engagements in 2019/2020 include Bach Gentle Lord Jesus, Grant him rest. on the choral conducting faculty at the “Hunt Cantata” with Bach Collegium Amen. Yale School of Music and Yale Institute Japan, Mozart Mass in C minor with Saint of Sacred Music, where he remains the Louis Symphony Orchestra, Messiah OFFERTORIUM principal guest conductor of Yale with Early Music Vancouver and later in Domine Jesu Tokyo with Bach Collegium Japan, Israel Lord Jesus Christ, King of glory, Schola Cantorum. free the souls of all the faithful departed in Egypt in Hanover, Easter Oratorio in from the pains of hell Suzuki’s impressive discography on the Essen, St. Matthew Passion with BCJ, Mass and from the bottomless pit. BIS label has brought him many critical in B minor with Müpa Budapest, Handel Deliver them from the lion’s jaws, plaudits. 2018 marked the conclusion of Il Delirio Amoroso at the Opernhaus lest hell engulf them, lest they fall into darkness; Bach Collegium Japan’s recording of the Zürich, Bach Cantatas in St. Gallen and but let the holy standard-bearer Michael complete sacred and secular cantatas, Bach Masses/Cantatas with Concerto lead them into the holy light, comprising sixty-five volumes. Copenhagen in Stuttgart. as once You promised to Abraham and to his seed.

Hostias We offer to You in praise, O Lord, sacrifices and prayers: Accept them on behalf of those souls NOAH GELLER ROXANA CONSTANTINESCU whom we remember this day: Violin Mezzo-Soprano Lord, make them pass from death to life, Violinist Noah Geller Hailed by the as once You promised to Abraham was appointed international press as a and to his seed. concertmaster of the “world-class coloratura SANCTUS Seattle Symphony by mezzo-soprano, where Holy, holy, holy, Music Director Emeritus from her rich lower Lord God of hosts. Ludovic Morlot in register, reminiscent of Heaven and earth are full of your glory. Hosanna in the highest! September 2018. Noah a vintage port wine, to came to Seattle from her radiant top her Photo: Todd Rosenberg Todd Photo: Baragan Marius Photo: BENEDICTUS the Kansas City singing is seamless and Blessed is he who comes in the name of the Lord. Symphony, where he was concertmaster her acting, too, is remarkably Hosanna in the highest! under Michael Stern since 2012. accomplished” (Star Tribune), Roxana AGNUS DEI Constantinescu is renowned for the Lamb of God, who takes away the sins of the Noah began his professional career in complexity of her musicianship. world, grant them rest. the first violin section of the Philadelphia Lamb of God, who takes away the sins of the Orchestra in 2007 while still pursuing his Notable engagements have included world, grant them rest eternal. master’s degree. He has performed as successful debuts at the Zurich Opera COMMUNIO guest concertmaster with the symphony House and Teatro la Fenice as Adalgisa Lux aeterna orchestras of Houston, Pittsburgh and (Norma), at the Israeli Opera as Fenena May eternal light shine upon them, O Lord, Beijing (China National Symphony). Noah (Nabucco) and the Opera Royal de with Your saints forever, is an original member of Shir Ami, an Versailles as Emira in a new production for You are merciful. Eternal rest give unto them, O Lord, ensemble dedicated to the music of of Siroe. and let perpetual light shine upon them, composers whose lives were adversely with Your saints forever, affected by the Holocaust. Roxana has recorded for Hänssler Classic, for You are merciful. OEHMS Classics, SWR, CSO Resound, Noah currently lives in Seattle with his Artmode Records, Weltbild and Carus wife, percussionist Mari Yoshinaga, and Verlag. A CD recording of Stravinsky’s their dog, Monkey. He performs on a violin Pulcinella under the baton of Pierre Boulez made by Andreas Postacchini c. 1840. was nominated for a 2011 Grammy Award.

encorespotlight.com 29 LAWRENCE WILIFORD SEATTLE SYMPHONY CHORALE Tenor The Seattle Symphony Chorale Lauded for his luminous serves as the official chorus of the projection, lyrical Seattle Symphony. Over the past four sensitivity and brilliant decades, the Chorale has grown in coloratura, American- artistry and stature, establishing itself Canadian tenor Lawrence as a highly respected ensemble. Critics Wiliford is in high demand have described the Chorale’s work in concert, opera and as “beautiful, prayerful, expressive,” recital repertoire. Recent “superb” and “robust,” and have highlights include praised it for its “impressive clarity Mozart’s Coronation Mass with Les Violins Du and precision.” The Chorale’s 100+ Roy, performing a new work by Zachary Photo: VanHouten Ben volunteer members, who are teachers, Wadsworth with Chor Leoni Men’s Choir, doctors, attorneys, musicians, students, bankers and professionals from all fields, bring Handel’s Messiah with the Phoenix not only musical excellence, but a sheer love of music and performance to their endeavor. Symphony, Mozart’s Mass in C minor and Directed by Joseph Crnko, Associate Conductor for Choral Activities, the Chorale Bach’s St. John Passion at the Bach Festival performs with the Seattle Symphony both onstage and in recorded performances. Society of Winter Park, and Bach’s St. John Passion with Luminous Voices. Soprano Rachel Cherem Andrew Magee Caitlin Anderson-Patterson Lauren Cree Ed Morris Wiliford holds a Bachelor of Music in Laura Ash Paula Corbett Cullinane Wally Pfingsten church music from St. Olaf College and Christina Arroyo Aurora de la Cruz Theodore Pickard a Master of Music in vocal performance Amanda Bender Robin Denis Christopher Reed from the University of Toronto. He has Lolly Brasseur Cindy Funaro Jonathan M. Rosoff studied at Tanglewood, the Internationale Ellen Cambron Carla J. Gifford Alan Sheaffer Bachakademie of Stuttgart, the Steans Shannon Christensen Amy Gleixner Spencer Small Institute at the Ravinia Festival, and the Jillian Churchill Kelly Goodin M. Scott Spalding Britten-Pears Young Artist Program. Wiliford Emma Crew Catherine Haddon Brian Stajkowski is a graduate of the Canadian Opera Erin M. Ellis Shan Jiang Jeremy Paul Swingle Jacquelyn Ernst Shreya Joseph Max Willis Company’s Ensemble Studio and is a Kaitlyn Gervais Inger Kirkman Dane Zielinski recipient of grants from the Canada Council Emily Han Sara Larson for the Arts and the Ontario Arts Council. Teryl Hawk Rachel Lieder Simeon Bass Kaethe Henning Cally Lindenmier John Allwright MORGAN SMITH Lyndsey Howell Olga Melnik Hal Bomgardner Baritone Elizabeth Husmann Audrey Morin Andrew Cross Caitlin Hutten Monica Namkung Darrel Ede American baritone Sharon Jarnigan Angela Petrucci Morgan Elliott Morgan Smith is one of Elizabeth Johnson Karis Pratt Evan Figueras the most prolific Julia Joo Beth Puryear Curtis Fonger performers of modern Katy Kaltenbrun Alexia Regner Steven Franz operatic repertoire in the Seung Hee Kim Valerie Rice David Gary world. Known for his Lori Knoebel Emily Ridgway Raphael Hadac riveting dramatic Meghan Limegrover Laura Marie Rivera Kelvin Helmeid portrayals and the power Courtney Lindahl Dale Schlotzhauer Colton Hess Kori Loomis Darcy Schmidt Rob Jones and beauty of his voice, Megan McCormick Carreen A. Smith Ronald Knoebel Smith has been entrusted to create 16 roles Adrienne Selvy Mildon Heather Allen Strbiak Tim Krivanek in world premieres, including Starbuck in Geraldine Morris Kathryn Tewson Adam LaRue Jake Heggie’s widely celebrated Moby-Dick. Nicolle Omiste JoAnn Wuitschick KC Lee Smith has also earned universal praise for Sasha S. Philip Mindy Yardy * Thomas C. Loomis performances in traditional repertoire, Kaitlin Puryear Bryan Lung notably Scarpia (Tosca), Escamillo (Carmen), Emily Reed Tenor Mislav Magerl title role of Don Giovanni, Sharpless Ana Ryker Matthew Blinstrub Glenn Nielsen (Madama Butterfly) and Count Alamaviva (Le Emily Sana James Clarke Mark Penrod nozze di Figaro). Barbara Scheel * Spencer Davis Ken Rice Laura A. Shepherd Steven Feis Martin Rothwell * A graduate of Columbia College at Columbia Joy Chan Tappen Theo Floor Edward Sam University and Mannes College of Music in Bree'anna Walberg Jacob Garcia Eric Seifert New York City, Smith was a Seattle Opera Andrea Wells Joel Gewecke Christopher Smith young artist in 1999–2000 and in 2001 made Zachary Herrington-Shaner Garrett Smith his professional debut there as Donald in Alto Eric Jeffords Jim Snyder Cynthia Beckett Neil Johnson Michael Uyyek Billy Budd. A favorite in Seattle, Smith has Cyra Valenzuela Benedict Alexander Jones Jared White performed 12 roles there since his debut, Ivy Rose Bostock Kevin Kralman * * principal of section including Count Alamaviva in Le nozze di Monica Bowen Robert Kuchcinski Figaro, Don Giovanni (title role), Silvio in I Nancy Brownstein Patrick Le Quere Pagliacci, Riccardo in I Puritani, and Peter Kathryn Cannon Miller James H. Lovell Niles in Mourning Becomes Electra. Terri Chan Ian McKinley

30 SEATTLESYMPHONY.ORG 10/18 FRIDAY, OCTOBER 18, 2019, AT 10PM PROGRAM NOTES [untitled] 1 [UNTITLED] SERIES Ottorino Resphigi (1879–1936) a native of Bologna, Italy, spent two formative years in Russia, where he took lessons from master orchestrator Nikolai Rimsky-Korsakov, Jenna Breen, horn followed by time in Berlin studying with Jeffrey Fair, horn Max Bruch. After taking a teaching job Jonathan Karschney, horn in Rome, Respighi honored his adopted home city and assured his place in the Danielle Kuhlmann, horn permanent canon of orchestral music with Mark Robbins, horn Fountains of Rome and Pines of Rome, John Turman, horn among other gems. He composed his final ballet in 1931, adapting a biblical plot David Gordon, trumpet that allowed for alluring and provocative Michael Myers, trumpet colors inspired by the Middle East. This Christopher Stingle, trumpet arrangement of the Danza Guerresca from Belkis, Queen of Sheba emphasizes Alexander White, trumpet the ritualism and power of a ceremonial Stephen Fissel, trombone war dance. Carson Keeble, trombone Starting in 1585, Giovanni Gabrieli (c. David Lawrence Ritt, trombone 1554–1612) directed music at St. Mark’s Ko-ichiro Yamamoto, trombone Basilica in Venice, where his uncle Andrea had previously served as the organist. The John DiCesare, tuba large, reverberant cathedral, completed James Benoit, timpani before the year 1100, posed particular Matthew Decker, percussion acoustical challenges for composers, because its two choir lofts faced each Rob Tucker, percussion other from a distance far enough apart Michael A. Werner, percussion to make it nearly impossible to perform complex music in unison. Instead the OTTORINO RESPIGHI Danza Guerresca from Belkis, Queen of Sheba 3’ local composers developed a strategy of writing in an antiphonal style, with two (or more) separate ensembles playing off GIOVANNI GABRIELI Canzon per sonar primi toni à 8, Ch. 170 3’ each other. Gabrieli was a key figure in extending this antiphonal style beyond DAVID SAMPSON Morning Music 12’ choir music to also include instrumental ensembles, and his efforts helped usher in GIOVANNI GABRIELI Canzon per sonar septimi 3’ the Baroque era and all its ornate forms of et octavi toni à 12, Ch. 182 counterpoint.

GUNTHER SCHULLER Five Pieces for Five Horns 10’ In 1597, Gabrieli published Sacrae Largamente e maestoso symphoniae, a groundbreaking collection Adagio e con tenerezza of vocal and instrumental music, including Tranquillo a number of ensemble works titled Con moto e agitato—Adagio Canzon. In the Canzon per sonar primi Toccata: Energico toni à 8, the eight parts split into two antiphonal groups. “Primi toni” signifies GIOVANNI GABRIELI Canzon per sonar in echo 3’ a particular collection of notes that was duodecimi toni à 10, Ch. 180 prevalent in early church music (the Dorian mode to be specific), from a time before ANTHONY DILORENZO A Little Russian Circus 13’ composers coalesced around major and Tent of Terror minor keys. Nikolai the Magnificent David Sampson (b. 1951) composed The Clown Morning Music in 1986 for the American Rings of Fire Brass Quintet. It was a sequel to his earlier woodwind quintet, In Memoriam: W.E.S., Please note that the timings provided for this concert are approximate. Please turn off all electronic devices and refrain from taking photos or video. in which he reckoned with “the murder of Performance ©2019 Seattle Symphony. Copying of any performance by camera, audio or video recording my brother, William Evan Sampson, by the equipment, and any other use of such copying devices during a performance is prohibited. Ku Klux Klan and American Nazis in 1979,” as Sampson explained in a program note. “Morning Music deals with my thoughts and feelings seven years later,” he wrote;

encorespotlight.com 31 PROGRAM NOTES

“As you will hear, the anguish over the death is as intense as ever, but strength and hope will gradually emerge from the despair. The work is one movement with clearly delineated sections, ending with a fast-paced coda. I have dedicated Morning Music to my mother, Betty Sampson, whose optimism and resiliency At the have been an inspiration to me.” In another example from Sacrae symphoniae, Gabrieli wrote the Canzon per sonar septimi et octavi toni à 12 for three separate choirs, each with four instruments. Gabrieli did not specify in his scores which instruments should play which lines, but these recent arrangements by Timothy Higgins, principal trombone show of the San Francisco Symphony, make the most of modern brass instruments with their valves and slides that facilitate melodic lines.

Gunther Schuller (1925–2015) was a musician unfazed by the usual divisions between musical worlds. Coming of age in the 1940s and ‘50s — a time of strict or on musical orthodoxy — Schuller ranged freely, composing in a serial style one day and conducting a jazz ensemble the next, all the while keeping up his mastery of the horn that earned him the principal chair at the Metropolitan Opera. In the Five Pieces for Five Horns, composed in 1952, Schuller used his intimate knowledge of the instrument to infuse these short vignettes with immense sonic variety, the go from the smoky chords of the opening movement to the pointillistic humor of the finale.

In one last antiphonal selection from the Sacrae symphoniae of Gabrieli, the “echo” Encore is your companion aspect speaks for itself in the Canzon per sonar in echo duodecimi toni à 10 for two to Seattle’s performing arts. brass choirs.

Anthony DiLorenzo (b. 1967) is an Emmy- winner composer and trumpeter who has written extensively for films, television and concerts. He composed A Little Russian Circus for Burning River Brass, with an imagined backstory that he explained in the liner notes for their 2001 CD release Russian Carnival:

“It is early 19th-century Russia — a small band of misfits travels the countryside entertaining Czars and Czarinas in their royal palaces. As they continually dazzle encorespotlight.com their audiences with feats of splendor and amazing acrobatic routines, the performers become known through all of Russia. With their reputation spreading so swiftly, it

32 SEATTLESYMPHONY.ORG PROGRAM NOTES

THOMAS DAUSGAARD, MUSIC DIRECTOR becomes time to expand the exhibition and head for the countryside to perform for the masses.

“Vast audiences of farmers, craftsmen, merchants, women and children look I GIVE BECAUSE ... forward to the circus, which lifts them out of the dreariness of their everyday lives. Each village takes part in the production The Seattle Symphony is an by creating their own unique structure to provide for all the performers and animals. extraordinary treasure for the With such an elaborate array of animals, wires, nets, poles and fire, accidents are bound to happen. This is where my Pacific Northwest. What a tale begins.

“A Little Russian Circus is set in four delight it is to attend the always movements, each portraying a part of the performance. Tent of Terror begins with excellent performances. a blast of trombones setting the stage as the lions, tigers and bears (Oh My!) charge into the tent. … Nikolai – the Flying Bear – Nadine is considered to be the finest act in the circus. Of course, the bear doesn’t really fly; he merely swings from trapeze to SEATTLESYMPHONY.ORG/GIVE | 206.215.4832 trapeze. If the audience could see a little better, they might notice that the bear is not a bear, rather ‘Nikolai’ is actually two dwarfs stuffed into a bear costume! … Sitting center stage, a small, lonely clown plays an accordion no bigger than eight inches. Covered in a soft bluish light, The Clown plays a beautiful, soaring melody, Wholesale and Retail Sales ¿ Roasting fine coffees since 1993 only to be interrupted by a bizarre cast of characters in all shapes, sizes and colors. … Rings of Fire begins with an eruption of sounds representing exploding balls of fire and light as massive rings placed all over the arena are set ablaze.” One of Seattle’s original © 2019 Aaron Grad roaster cafes, Lighthouse has spent more than twenty years creating a loyal following of coffee lovers. Lighthouse roasts consistently great coffee in small batches of the freshest premium beans, hand roasted in a vintage cast-iron roaster each day.

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encorespotlight.com 33 10/24–26 THURSDAY, OCTOBER 24, 2019, AT 7:30PM SATURDAY, OCTOBER 26, 2019, AT 8PM THOMAS DAUSGAARD, MUSIC DIRECTOR Schumann Piano Concerto I GIVE BECAUSE ... Cristian Măcelaru, conductor Beatrice Rana, piano Seattle Symphony Our ANNA CLYNE Within Her Arms 14’ ROBERT SCHUMANN Piano Concerto in A minor, Op. 54 31’ Allegro affettuoso symphony Intermezzo: Andantino grazioso Allegro vivace is part of BEATRICE RANA, PIANO INTERMISSION 20’ FELIX MENDELSSOHN Symphony No. 3 in A minor, Op. 56, “Scottish” 40’ the soul Andante con moto—Allegro un poco agitato— Vivace non troppo— Adagio— of Seattle Allegro vivacissimo—Allegro maestoso assai

Pre-concert Talk one hour prior to the performance. and I can’t Speaker: William White, Music Director of Orchestra Seattle and the Seattle Chamber Singers

imagine our Ask the Artist following the Thursday performance in the Samuel & Althea Stroum Grand Lobby.

city without it, Beatrice Rana’s performances are generously underwritten by Stephen Whyte and Rebecca Ralston through the Seattle Symphony’s Guest Artist Circle. so I’d like to 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 ©2019 Seattle Symphony. Copying of any performance by camera, audio or video recording be part of the equipment, and any other use of such copying devices during a performance is prohibited. community that helps sustain it. – Robert

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34 SEATTLESYMPHONY.ORG PROGRAM NOTES

ANNA CLYNE basses, and then a full pause, the music And perhaps most remarkable, it is a work turns brighter. The violins, especially, move of strong formal unity despite the fact that Within Her Arms into a higher range, producing at the end a it was composed in stages over a period plausibly angelic sound. of years. BORN March 9, 1980, in London NOW RESIDES Brooklyn, New York Within Her Arms is not the first work of Schumann evidently began thinking of WORK COMPOSED 2009 Anna Clyne’s played by Seattle Symphony. this concerto as early as 1833, but more WORLD PREMIERE April 7, 2009, in Los Angeles. In 2016 the orchestra performed This than half a decade passed without it Midnight Hour, whose composition materializing. In 1839 he promised Clara Esa-Pekka Salonen conducted members of the it co-commissioned with l’Orchestre Wieck, his fiancee, the dedication of Los Angeles Philharmonic Orchestra. national d’Île de France. Ms. Clyne has, the work, yet two more years went by in fact, enjoyed many performances by before any of it was finished. 1841 saw the leading orchestras in this country and completion of a single movement. Not What to Listen For abroad. From 2010 to 2015 she served as until 1845 did Schumann complete the The opening moments of this piece composer-in-residence with the Chicago concerto. Clara, now Schumann’s wife, establish a motif of four notes Symphony Orchestra, and she has held gave the first performance and many descending in scale-wise steps. This brief similar positions with the Baltimore others. Considering both her ability and figure provides the substance for and Berkeley Symphony Orchestras, her devotion to her husband and his music, practically the entire composition. l’Orchestre national d’Île de France, and at it seems doubtful that Schumann could various music festivals. Born in London, Ms. have asked for a more capable interpreter. Clyne now lives in New York, where she One of music’s most cherished qualities teaches composition at the Mannes School Schumann dispenses with the traditional is the solace it can provide in times of Music. She notes that “Within Her Arms orchestral exposition, opening his concerto of loss and grief. Last week, Seattle is music for my mother, with all my love.” instead with a brusque stroke followed by Symphony performed a program of three a series of cascading chords in the piano. compositions, each written explicitly for Scored for string ensemble. We then hear the principal subject of the this purpose. The theme of that program first movement — and, in a sense, of the carries over to the first work of this concert. ROBERT SCHUMANN entire work — begun by the orchestral Anna Clyne composed Within Her Arms as winds and completed by the soloist. Later, an elegy for her mother, who died in 2009. Piano Concerto in A minor, Op. 54 Schumann employs this melody again, The work takes its title and inspiration from though in a bright major key. verses by the Vietnamese Buddhist monk BORN June 8, 1810, in the town of Zwickau, Thich Nhat Hanh. These read in part: Saxony The second movement is built on a DIED June 29, 1856, at Endenich, near Bonn surprisingly modest idea whose signature Earth will keep you tight within her arms WORK COMPOSED 1841–45 motif of four ascending notes has its origin dear one— WORLD PREMIERE December 4, 1845, in in the second measure of the opening movement’s principal melody. A more So that tomorrow you will be transformed Dresden, under the direction of Ferdinand Hiller. literal recollection of that melody, as well into flowers— Clara Schumann played the solo part. as of the falling chords of the concerto’s ...... initial measures, concludes the movement and leads without pause to the finale. What to Listen For Flowers, that speak to me in silence. “The piano and orchestral parts are Scored for solo piano; pairs of woodwinds, The message of love and understanding interwoven to the highest degree; horns and trumpets; timpani; strings. has indeed come. one can’t imagine one without the other.” – Clara Schumann, on the first movement FELIX MENDELSSOHN Ms. Clyne scored Within Her Arms for of her husband’s Piano Concerto string orchestra and uses that ensemble Symphony No. 3 in A minor, Op. 56, almost as a wordless choir. As in “Scottish” Renaissance choral music, the work Schumann’s only completed Piano BORN February 3, 1809, in Hamburg makes its effect through the contrapuntal Concerto is a work of intriguing paradoxes. weaving of multiple strands of melody that Although composed by a man whose DIED November 4, 1847, in Leipzig often echo each other at close quarters. first ambition was to become a virtuoso WORK COMPOSED 1841–42 A motif of four notes moving down a scale pianist and who was married to one of WORLD PREMIERE March 3, 1842, in Leipzig. fragment runs almost continuously through the greatest keyboard artists of the 19th The composer conducted the the composition. century, it is not a showcase for bravura Gewandhaus Orchestra. technique in the way that the concertos of The composition’s single movement Liszt or Rachmaninov are. Lacking not only presents contrasting halves. In the first, the the attraction of transcendent brilliance What to Listen For music lies low in the ensemble’s range and but also the sweeping grandeur that mark Visitors to Edinburgh can still see has a dusky tone color that contributes the most memorable Romantic concertos the ruined chapel that stands beside to the prevailing lachrymose character. — those of Brahms or Tchaikovsky, for the Holyrood Palace. It looks much as But following a striking passage of halting example — it nevertheless has become Mendelssohn described it in 1829, and the phrases over a low tone sustained by one of the most popular works of its genre.

encorespotlight.com 35 CRISTIAN MĂCELARU PROGRAM NOTES Conductor Newly appointed Chief Conductor Designate melancholy air that hangs over it is exceptional melody, quiet yet surprising of the WDR perfectly captured by the opening in its intensity. The principal subject of the Sinfonieorchester, moments of this symphony. ensuing Allegro is a variant of this idea, Cristian Măcelaru is and Mendelssohn rounds off the first one of the fast-rising movement by returning to the music of stars of the conducting One of music’s most precocious talents, the introduction. world. He takes on this Photo: Sorin Popa Sorin Photo: Felix Mendelssohn was already an new position at WDR, The ensuing movement has the feel of a accomplished pianist and composer in one of Europe’s leading orchestras, scherzo; its distant woodwind calls and his mid-teens. Several tangible benefits effective with the 2019/20 season. attended his early accomplishments, rustling string figures even call to mind the not the least being opportunities to enchanted atmosphere of Mendelssohn’s Cristian Măcelaru attracted international travel. As a young man Mendelssohn famous A Midsummer Night’s Dream attention for the first time in 2012, when he toured throughout Germany, as well as to Scherzo, though evocations of Scottish Switzerland, France, Holland and Italy. In folk tunes are also evident, particularly stepped into the breach with the Chicago 1829 he made the first of what would be in the opening clarinet melody. The third Symphony Orchestra, deputizing for Pierre a series of trips to England. Mendelssohn movement brings one of the “songs Boulez. In the same year, he received the might have confined his visit to the relative without words” at which Mendelssohn “Solti Emerging Conductor Award” for comfort and safety of London. But like most excelled. Its serene initial melody contrasts young conductors, followed in 2014 by the young men, the composer had a strong with a somber march-like figure that “Solti Conducting Award”. Since then, he sense of wanderlust and appetite for deepens the emotional complexion of has performed regularly at the podium of adventure. Having fulfilled his contracted the movement. the best American orchestras, including concert appearances in the capital, he set the Chicago Symphony Orchestra, The finale returns to the energetic spirit off on what he would later call “my rough New York Philharmonic, Los Angeles and A minor tonality of the opening Scottish journey.” Philharmonic, Cleveland Orchestra, movement. Mendelssohn might have St. Louis Symphony and National Traveling north by coach and on foot, closed his symphony in that dark key, but Symphony Orchestra. Mendelssohn reached Scotland a week the Romantic tradition favored a shift to the later. Everything impressed him: the major mode late in the piece. Accordingly, rugged coast, the strange beauty of the a plaintive duet between clarinet and Highlands (“so quiet and lonely,” he wrote), bassoon leads to a broad coda in A major the girls in Edinburgh and the historical that brings the work to the kind of stirring sites he visited. On July 30, 1829, the conclusion we expect in a 19th-century BEATRICE RANA composer wrote to his family back symphony. Piano in Berlin: Scored for pairs of woodwinds; 4 horns; 2 At only 26 years old, trumpets; timpani; strings. At dusk we went to the palace where Gramophone’s 2017 Queen Mary lived and loved ... The chapel “Young Artist of the © 2019 Paul Schiavo nearby is now roofless; grass and ivy grow Year” Beatrice Rana there, and at the broken alter Mary was has shaken the crowned Queen of Scotland. Everything international classical is in a state of disrepair and the clear sky music world already shines in. I think I found in that chapel the and aroused admiration beginning of my Scottish Symphony: [Here Staggat Marie Photo: he sketched 16 bars of music]. and interest from concert presenters, conductors, critics and But despite the promising start his audiences in many countries. letter implies, Mendelssohn postponed concentrated work on the symphony until The year 2017 will remain as a milestone 1841. He completed it early the following in Ms. Rana’s career with the release of year. If his memories of Scotland faded Bach’s Goldberg Variations on Warner at all during the intervening dozen years, Classics and a 30-city tour of the work. they were more than compensated by his Debuting at No. 1 on the U.K. Classical increased mastery of composition. The Charts, the recording was praised by “Scottish” Symphony enjoys the virtues of reviewers worldwide and crowned by both youthful impressions and two major awards: Gramophone’s “Young artistic maturity. Artist of the Year” and Edison Klassiek’s The composition follows the classical “Discovery of the Year” Award. In 2018, she symphonic plan of four movements, though was nominated as 2018 Female Artist of Mendelssohn stipulated that these should the Year at the Classic BRIT Awards, where be played without pause. The composer’s she performed for a nationally televised original inspiration, the theme he jotted audience at Royal Albert Hall. down in Scotland, occupies the opening measures of the slow introduction. It is an

36 SEATTLESYMPHONY.ORG THOMAS DAUSGAARD, MUSIC DIRECTOR

NAME A SEAT IN BENAROYA HALL For over two decades, generations of audience members have experienced the magic, wonder and inspiration of live performances from their seats inside Benaroya Hall. Join us today for this once-in-a-lifetime opportunity to be a part of Benaroya Hall history by naming a seat. Seats are available throughout the S. Mark Taper Foundation Auditorium and the Illsley Ball Nordstrom Recital Hall. Your gift is an opportunity to join in the legacy and preservation of Benaroya Hall. CREATE YOUR LASTING LEGACY

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Mendelssohn Untuxed The composition follows the classical UNTUXED SERIES symphonic plan of four movements, though Mendelssohn stipulated that these Cristian Măcelaru, conductor should be played without pause. The composer’s original inspiration, the theme Jonathan Green, host he jotted down in Scotland, occupies Seattle Symphony the opening measures of the slow introduction. It is an exceptional melody, FELIX MENDELSSOHN Symphony No. 3 in A minor, Op. 56, “Scottish” 40’ quiet yet surprising in its intensity. The Andante con moto—Allegro un poco agitato— principal subject of the ensuing Allegro Vivace non troppo— is a variant of this idea, and Mendelssohn Adagio— rounds off the first movement by returning Allegro vivacissimo—Allegro maestoso assai to the music of the introduction.

Please note that the timings provided for this concert are approximate. The ensuing movement has the feel of a Please turn off all electronic devices and refrain from taking photos or video. scherzo; its distant woodwind calls and Performance ©2019 Seattle Symphony. Copying of any performance by camera, audio or video recording rustling string figures even call to mind the equipment, and any other use of such copying devices during a performance is prohibited. enchanted atmosphere of Mendelssohn’s famous A Midsummer Night’s Dream Scherzo, though evocations of Scottish folk tunes are also evident, particularly in the opening clarinet melody. The third movement brings one of the “songs without words” at which Mendelssohn excelled. Its serene initial melody contrasts with a somber march-like figure that PROGRAM NOTES deepens the emotional complexion of the movement.

The finale returns to the energetic spirit might have confined his visit to the relative FELIX MENDELSSOHN and A minor tonality of the opening comfort and safety of London. But like most movement. Mendelssohn might have Symphony No. 3 in A minor, Op. 56, young men, the composer had a strong closed his symphony in that dark key, but “Scottish” sense of wanderlust and appetite for the Romantic tradition favored a shift to the adventure. Having fulfilled his contracted BORN February 3, 1809, in Hamburg major mode late in the piece. Accordingly, concert appearances in the capital, he set DIED November 4, 1847, in Leipzig a plaintive duet between clarinet off on what he would later call “my rough and bassoon leads to a broad coda in WORK COMPOSED 1841–42 Scottish journey.” WORLD PREMIERE March 3, 1842, in Leipzig. A major that brings the work to the kind of stirring conclusion we expect in a The composer conducted the Gewandhaus Traveling north by coach and on foot, 19th-century symphony. Orchestra. Mendelssohn reached Scotland a week later. Everything impressed him: the rugged Scored for pairs of woodwinds; 4 horns; 2 coast, the strange beauty of the Highlands trumpets; timpani; strings. What to Listen For (“so quiet and lonely,” he wrote), the girls in Edinburgh and the historical sites he Visitors to Edinburgh can still see the © 2019 Paul Schiavo ruined chapel that stands beside the visited. On July 30, 1829, the composer Holyrood Palace. It looks much as wrote to his family back in Berlin: Mendelssohn described it in 1829, and the At dusk we went to the palace where melancholy air that hangs over it is Queen Mary lived and loved ... The chapel perfectly captured by the opening nearby is now roofless; grass and ivy grow moments of this symphony. there, and at the broken alter Mary was crowned Queen of Scotland. Everything is in a state of disrepair and the clear sky One of music’s most precocious talents, shines in. I think I found in that chapel the Felix Mendelssohn was already an beginning of my Scottish Symphony: [Here accomplished pianist and composer in he sketched 16 bars of music]. his mid-teens. Several tangible benefits attended his early accomplishments, But despite the promising start his not the least being opportunities to letter implies, Mendelssohn postponed travel. As a young man Mendelssohn concentrated work on the symphony until toured throughout Germany, as well as to 1841. He completed it early the following Switzerland, France, Holland and Italy. In year. If his memories of Scotland faded 1829 he made the first of what would be at all during the intervening dozen years, a series of trips to England. Mendelssohn they were more than compensated by his

38 SEATTLESYMPHONY.ORG 10/31–11/2 THURSDAY, OCTOBER 31, 2019, AT 7:30PM SATURDAY, NOVEMBER 2, 2019, AT 8PM PROGRAM NOTES

Augustin Hadelich My connection to Berlioz is first our shared country of origin, France. But on a more personal side, I discovered Brahms Violin Concerto the opera La damnation de Faust when I was 9. My mother was singing the role of Marguerite and I spent my entire Christmas holidays in the pit listening to Nathalie Stutzmann, conductor “these excerpts. I have always dreamed Augustin Hadelich, violin of conducting them since. They are really Seattle Symphony part of my favorites with an amazing quality of orchestration. HECTOR BERLIOZ La damnation de Faust 13’ Brahms is one of my absolute favorite Menuet de follets (“Will-o-the-Wisps”)— composers! I think he brings a light, a Ballet des sylphs (“Dance of the Sylphs”)— sensuality, something universal about Rákóczy March (Marche hongroise) nature and love as there are lots of (“Hungarian March”) moments in this music evoking the beauty of nature and creation. It’s very mystical JOHANNES BRAHMS Violin Concerto in D major, Op. 77 36’ music for me. Allegro non troppo I love to share with the orchestra players Adagio and the audience the unique emotion Allegro giocoso, ma non troppo vivace that music brings to people, as it’s AUGUSTIN HADELICH, VIOLIN the strongest, the most beautiful and universal means of communication in INTERMISSION 20’ the world. JOHANNES BRAHMS Symphony No. 2 in D major, Op. 73 43’ Allegro non troppo Adagio non troppo – Nathalie Stutzmann Allegretto grazioso (Quasi Andantino) Allegro con spirito HECTOR BERLIOZ Pre-concert Talk one hour prior to performance. La damnation” de Faust Speaker: Erica Miner, former Metropolitan Opera violinist, Classical Music Writer BORN December 11, 1803, at La Côte-Saint- Ask the Artist following the Thursday performance in the Samuel & Althea Stroum Lobby. André, near Grenoble, France DIED March 8, 1869, in Paris Augustin Hadelich’s performances are generously underwritten by Betty Graham through the WORK COMPOSED 1828–29, 1845–46 Seattle Symphony’s Guest Artists Circle. WORLD PREMIERE December 6, 1846, in Paris, under the composer’s direction 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 ©2019 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. What to Listen For Just before Berlioz was to conduct the first performance of hisRákóczy March in Hungary, a local gentleman came to him, concerned that the famous melody was initially presented quietly when Hungarian listeners were used to hearing it played loudly. “Don’t worry,” Berlioz replied, “you shall have a forte such as you never heard in your life. You haven’t read [the score] properly. One must always consider the end.”

In 1828 Hector Berlioz, not yet 25 and still a student at the music conservatory in Paris, read Faust in a recently published French translation. In his Memoirs, Berlioz recalled that this “marvelous book fascinated me from the first. I could not put it down; I read it incessantly, at meals,

encorespotlight.com 39 PROGRAM NOTES

at the theater, in the streets, wherever I WORLD PREMIERE January 1, 1879, in Leipzig. with a number of musicians. Chief among happened to be.” Joseph Joachim was the soloist, and the them were Clara Schumann, widow of the composer conducted the Leipzig Gewandhaus composer Robert Schumann and one of Berlioz’s encounter with Faust soon Orchestra. the great pianists of the 19th century; and produced music: Huit scènes de Faust Joseph Joachim, a superb violinist and (Eight Scenes from Faust), settings of Brahms' oldest friend. different selections from Goethe’s verse drama. The young composer felt initially What to Listen For Joachim was by any standard an enthusiastic about this work but later extraordinary musician. A virtuoso of the Joseph Joachim was a famous changed his mind and withdrew the music first rank, he nevertheless disdained the and much-admired musician, and Brahms from circulation. Nearly two decades showy pyrotechnics of such famous 19th- an obscure young pianist and fledgling later, Berlioz returned to his Eight Scenes, century violinists as Paganini and Sarasate, composer, when the two first met in 1853. revising much of the music and adding preferring instead to devote himself The former quickly recognized the enormity newly created material. The result was La to insightful interpretations of classical of his young colleague’s potential. “I have damnation de Faust, a remarkable and repertory. He met Brahms in 1853. Both men never come across a talent like his before,” unclassifiable work, part opera and part were just beginning their careers, and they Joachim wrote at the time. “He is miles large-scale cantata. Like the earlier Eight soon established a friendship based in no ahead of me.” Scenes, it uses solo voices and chorus. small part on shared musical values. Though But it also includes several purely not always smooth, their relationship orchestral movements. Brahms’ violin concerto is one of endured some 44 years, until Brahms’ my favorite pieces of music, and death, in 1897. We hear three of these, beginning one that I have played for almost 25 years. with Menuet des follets (“Will-o-the- The friendship between Brahms and Brahms defines the role of the soloist Wisps”). Having promised to win the Joachim produced a number of tangible not as a diva accompanied by a docile beautiful Marguerite for Faust, the devil results, the greatest coming in 1878. In and subservient orchestra, but rather Mephistopheles summons spirits of the air August of that year, the composer, who a protagonist defining its role through (follets) to cast a spell on the girl. They flit habitually understated his creative efforts, “dialogue, struggle and dance with other about in a brilliantly orchestrated dance wrote to Joachim that he was sending voices. This is the concerto’s greatest whose vivacity is far greater than its “a few violin passages” to try out. These strength, but also a significant challenge: designation as a minuet suggests. proved to be the first movement and part the violinist, conductor and orchestra must of the finale to a concerto he had sketched achieve the chemistry of great chamber In Berlioz’s adaptation of Faust, the title during the summer. Joachim responded musicians in order to create a character first sees Marguerite in a dream- enthusiastically and encouraged Brahms to convincing performance. vision produced by dancing Sylphs, spirits proceed with the work. who appear in the likeness of young women. Lighter and simpler than Menuet Brahms did not write a cadenza, leaving During the following months the two des follets, their Ballet des sylphes conveys space for violinists to compose their musicians corresponded frequently and the girl’s grace and innocence. own. For the first half-century after the met several times to try out portions of the premiere of the concerto, many great concerto as it took shape. Brahms originally For a visit to Hungary, in 1846, Berlioz violinists wrote their own cadenzas, planned a work in four movements (he orchestrated the Rákóczy March, the starting with Joseph Joachim (for whom would realize this unorthodox concerto unofficial Hungarian national anthem. It was the concerto was written) all the way to format three years later in his Second Piano so well received that the composer decided Kreisler and Heifetz. I find it unfortunate Concerto), but eventually discarded the to relocate the opening of La damnation that this tradition did not continue into our two central movements in favor of what he de Faust to Hungary and interpolate the time as writing a cadenza is a chance for belittled as a “poor Adagio.” Rákóczy March at that point in the work. “A a more personal reflection. After many German critic,” Berlioz recalled, “said I had years of performing the Joachim and Knowing the esteem in which Brahms no business putting Faust there. I cannot Kreisler cadenzas, I decided to write my held Joachim, it is not difficult to imagine see why. I should have had no hesitation own! It was an immensely interesting and this composition as a kind of portrait of, or taking him anywhere in the world if the work humbling experience for me to compose homage to, the violinist. The first movement would have benefitted.” this cadenza while attempting to stay within is marked by the blend of unpretentious the parameters of Brahms’ style. grandeur and controlled energy Scored for 2 flutes and piccolo (the 2nd flute established in the long orchestral opening. also doubling piccolo); 2 oboes; 2 clarinets and bass clarinet; 4 bassoons; 4 horns; 2 trumpets I cannot wait to play the Brahms concerto Characteristically, Brahms forges each and 2 cornets; 3 trombones; tuba; timpani and with the Seattle Symphony and Nathalie of the themes presented in this passage percussion; 2 harps; strings. Stutzmann! from several brief interlocking melodies which can expand, develop and play off JOHANNES BRAHMS each other. The violin proceeds to amplify – Augustin Hadelich the thematic material presented by the Violin Concerto in D major, Op. 77 orchestra and contributes an exceptionally lovely melody of its own. BORN May 7, 1833, in Hamburg Johannes Brahms was probably the most DIED April 3, 1897, in Vienna widely admired composer of his day. Partly The “poor Adagio” is clearly an expression WORK COMPOSED 1878 as a result, ”he enjoyed close relationships of great tenderness and affection. Brahms

40 SEATTLESYMPHONY.ORG NATHALIE STUTZMANN PROGRAM NOTES Conductor 2019–2020 is Nathalie Stutzmann’s second opens with one of his most beautiful and Second Symphony leaves no doubt that it season as Chief long-breathed melodies. (It is also one is indeed a major work. Conductor of the of the great oboe solos in the orchestral Kristiansand Symphony literature.) Although the music passes This is the longest of Brahms’ four Orchestra in Norway, across more troubled thoughts in the symphonies and in many ways the and her third season as central portion of the movement, it returns richest in detail. In no other piece did Principal Guest Photo: Simon Fowler Simon Photo: to its initial melodic impulse and the the composer achieve a more inventive Conductor of the RTÉ peaceful vein in which this portion of the development of his musical materials or National Symphony Orchestra of Ireland. In more fascinating relationships among concerto began. 2019 she is also concluding a two-season them. Melodies are transformed in stint as Associate Artist of the São Paulo The Hungarian flavor of the finale is unexpected ways but nevertheless State Symphony Orchestra. certainly a bow to Joachim, who not only retain their identities; different ideas are was of Hungarian background but had set against each other in counterpoint; Stutzmann is considered one of the most himself written a “Hungarian Concerto” accompanying figures, on careful listening, outstanding musical personalities of our and dedicated it to Brahms. It is above turn out to be variations of principal time, with parallel careers as a conductor all the recurring principal theme of this themes. Yet for all its ingenious artifice, and as a world-renowned contralto. Her movement that evokes the gypsy violin the symphony attains a rare depth of charismatic musicianship, combined with style that both Joachim and Brahms knew expression, and not all of this is bright in the unique rigour, energy and fantasy and loved. quality. Beneath the idyllic surface are which characterise her style, has been undercurrents of more sober thought. recognized by her peers, audience Scored for solo violin; pairs of woodwinds; 4 While these do not dominate the work, horns; 2 trumpets; timpani; strings. and critics alike. As a conductor, her they do enrich its emotional complexion. core repertoire is focused around the JOHANNES BRAHMS The composition’s opening gesture could Romantic era — ranging from Beethoven, hardly be more modest: cellos and basses Brahms and Dvořák through to the larger Symphony No. 2 in D major, Op. 73 sound the note D, dip down a tone, and symphonic forces of Mahler, Strauss, WORK COMPOSED 1877 then return. But this three-note figure is the Tchaikovsky and Wagner — as well as WORLD PREMIERE December 20, 1877, in seed from which much of the symphony French impressionism. springs. It appears in different guises again Vienna. Hans Richter conducted the Vienna and again throughout the first movement, Philharmonic Orchestra. and it will emerge later as well. AUGUSTIN HADELICH The ensuing Adagio paints a darker Violin What to Listen For picture. Beginning serenely with a theme Musical America ’s The three-note figure played by the that descends in the high register of the 2018 Instrumentalist of low strings in the opening moments cellos against nearly its mirror image rising the Year, Augustin runs throughout the first movement, in the bassoons, it swells to a passionate unifying Brahms’ otherwise varied outburst. The third movement returns us Hadelich is one of the invention. It punctuates the horn-call to a sunnier landscape, though one not great violinists of our presentation of the first theme and begins without shadows, for there is a bittersweet time. He is the 2016 the two variations of that theme — the first wistfulness in the harmonies that color the Grammy Award winner a flowing violin line, the second a robust for his recording of

oboe’s lilting melody. Yang Photo: Suxaio passage for full orchestra — that quickly Dutilleux’s Violin follow. The same figure reappears in the No such ambiguity exists in the finale. The Concerto, as well as a Gold medalist of the finale. entire movement seems to flow effortlessly Indianapolis International Violin from a running theme stated softly by the Competition. Now an exclusive Warner violins in the initial measures. (That the Classics artist, he has released a CD of the Brahms spent some twenty years first three notes of this melody are those Paganini 24 Caprices, in addition to the of the symphony’s opening motif provides composing his First Symphony, repeatedly violin concertos of Brahms and Ligeti. revising details and soliciting advice from a tangible link to the first movement and trusted musical friends. Having finally demonstrates Brahms’ conception of Born in Italy, Hadelich is now an published it, however, he soon set to work this composition as a unified structure.) American citizen. He has made concerto on a successor, finishing this during the Rhythmic vitality and skillfully varied appearances with major orchestras summer vacation he spent at the Austrian instrumentation enliven the discourse, and around the world. Among his numerous lake resort of Pörtschach in 1877. the work concludes with one of the most distinctions are an Avery Fisher Career joyous closing passages in the Grant; the inaugural Warner Music Prize; The composer’s acquaintances were symphonic literature. as well as an honorary doctorate from the quick to perceive the work as a reflection University of Exeter in the UK. of the pleasant surroundings in which Scored for pairs of woodwinds; 4 horns; 2 it was written. But there is more to this trumpets; 3 trombones; tuba; timpani; strings. Hadelich plays the 1723 “Ex-Kiesewetter” music than just bucolic impressions. An Stradivari violin, on loan from Clement artist of Brahms’ stature would not have © 2019 Paul Schiavo and Karen Arrison through the Stradivari limited himself in a major work to carefree Society of Chicago. sentiments, and the imposing scale of the

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PRINCIPAL BENEFACTORS Charles and Maria Schweizer Grant and Dorrit Saviers ⁵ The Seattle Symphony acknowledges with gratitude the Mel and Leena Sturman Elizabeth and Justus Schlichting following donors who have made lifetime commitments of more Atsuhiko and Ina Goodwin Tateuchi Foundation Charles and Maria Schweizer ⁵ than $1 million as of September 3, 2019. Virginia B. Toulmin Foundation Mel and Leena Sturman ⁵ Muriel Van Housen and Tom McQuaid Patricia Tall-Takacs and Gary Takacs ^ ¹⁵ 4Culture Stephen Whyte and Rebecca Ralston Atsuhiko and Ina Goodwin Tateuchi Foundation ¹⁰ Dr.* and Mrs.* Ellsworth C. Alvord, Jr. Anonymous Muriel Van Housen and Tom McQuaid ⁵ Andrew W. Mellon Foundation M. Barton Waring ⁵ ArtsFund For more information about sponsorship, please contact Amy Rick and Debbie Zajicek ⁵ ArtsWA Bokanev at 206.336.6623. 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Linda and Wolfram Hansis ¹⁵ Karen and James Mhyre Mr. Charles Sitkin Dr. and Mrs. James M. Hanson ⁵ Mary Mikkelsen ¹⁵ Stephen and Susan Smith ⁵ Walter Harley and Anne Sustar ¹⁵ Bruce Miller and Sandra Kroupa Michele Souligny ∞ ⁵ Doug and Barbara Herrington Laurie Minsk and Jerry Dunietz Fawn and Jim Spady James R. Harvey Chie Mitsui ∞ Michael Spektor Drs. Robert and Sally Hasselbrack Frederic Moll Kathleen and Robert Spitzer ⁵ Ken* and Cathi Hatch ^ ⁵ Phoebe Moon Doug and Katie Sprugel ⁵ Pat Hayenga Gary Moresky ⁵ Stella Stamenova and Chani Johnson Admiral and Mrs. Thomas B. Hayward ⁵ Terri Muharsky Sylvia Sterne Nichole Heidrick Janet Murphy ⁵ Steve and Sandy Hill Family Fund at the Seattle Foundation ^ ¹⁵ Joshua Hemphill Kevin Murphy and Karen Freeman ¹⁵ Delphine and Charles Stevens Ralph and Gail Hendrickson ⁵ Andrew Murray and Kevin Hardie Diane Stevens ⁵ Terrill and Jennifer Hendrickson ⁵ Marcia Murray Bert Sullam ∞ Mark Hill Mr. and Mrs. J. P. Naughton ¹⁵ Mike and Mary Lynn Sutherlin Marvin and Elizabeth Hoekstra David Neagle G. M. Teichert Bob Holtz and Cricket Morgan ⁵ Paul Neal and Steven Hamilton ∞ ⁵ Bob and Mimi Terwilliger ¹⁰ Becca and Brandon Honcoop Mark Nelson Peter Chuang and Elaine Tsai ⁵ Gwen and Randy Houser ¹⁰ Kirsten Nesholm ⁵ Warren and Nancy Tucker ⁵ Katerina and Misho Hubka Robert Ness Dr. and Mrs. H. B. Tukey ¹⁵ Krista Hughes Marilyn Newland ¹⁰ Raymond Tymas-Jones Mr. Roy Hughes ∞ ⁵ Karen and Sam Ng Marcia Van Doren ⁵ Dan Hungate Martha Noerr and T. Jeffrey Keane ⁵ Gretchen Van Meter ¹⁵ Patricia Hunter Ken and Pearl Noreen ⁵ Johanna P. Van Stempvoort ¹⁵ Jo Anne Iaciofano Mary Odermat Carol Veatch ⁵ Ralph E. Jackson ¹⁵ Mr. and Mrs. Thomas Olson Tara and John Verburg Anne Janes-Waller and Fletch Waller ¹⁰ Mrs. Jackie A. O’Neil ⁵ Donald J. Verfurth ⁵ Martha Jaworski ∞ Thomas Ortenzi Silvia Waltner Baochun Jin Jae Hyun Paek ∞ Connie Wang and Zachary Pollack Charles and Joan Johnson ¹⁵ John Palo Debra Ward ∞ Clyde and Sandra Johnson ¹⁰ Dr. Russell Paravecchio ¹⁵ Judith F. Warshal and Wade Sowers Martha Choe Richard and Sally Parks* ⁵ John Watson ¹⁰ Roberth Karman ⁵ Neal Patel Marc Wautier ⁵ Sean and Lisa Kelly ⁵ David F. Peck ¹⁵ Eugene and Marilyn Webb ⁵ Mike and Mary Killien ¹⁵ Don and Sue Phillips ⁵ Jonathan Weintraub Dr. and Mrs. Michael Kimmey ¹⁰ Valerie and Stanley Piha Norma Wells ⁵ Virginia King ¹⁰ Donald Pogoloff ⁵ Chris Wendt ¹⁰ W. M. Kleinenbroich ⁵ Bec Powell ∞ Mr. Josef Wernli Albert and Elizabeth Kobayashi ∞ ¹⁵ Jane Powers Greg Wetzel ⁵ Dr. and Mrs. Masato Koreeda ⁵ Ruth Ann and Jim Powers Caleb Whitmore Andrew N. Kornuta and Xingyu Li Lori and Bill Price Roger and June Whitson Becky Kowals and Max Rose + Alexander Prior Bruce Wick and Carmen Spofford ⁵ Michael Krene Lucy and Herb Pruzan ⁵ Mitch Wilk ⁵ Victoria and Howard Kroehl Chad Quail Rosalind Horder Williams Eric Lam ¹⁰ Ann Ramsay-Jenkins ⁵ Delight Willing Ron and Carolyn Langford ¹⁵ Wendy and Murray Raskind ¹⁰ Shannon Wilson and Mitchell Johnson Law Offices of Lisa Saar ∞ Jamie Rawding Aaron Wirsing Hock Lee and Sok Seah Christopher and Lila Rayl Mark Wittow Sharon Lee Reverend Kerry and Robin Reese ¹⁵ Marsha Wolf and Ken Linkhart + Christoph Lemoine ∞ ⁵ Cecilia Paul and Harry Reinert ¹⁰ Peggy Wolff Virginia and Brian Lenker ∞ ¹⁵ Jason Reuer ⁵ Elizabeth and Troy Wormsbecker ⁵ Jeanne and Edward Leonard Teresa Revelle Mrs. Sarah Yeager ⁵ Don and Carla Lewis ¹⁰ Carrie Delaney Rhodes ⁵ Ming Yuan Jerry and Marguerite Lewis ⁵ Hollace and James Rhodes Rebecca and Joseph Zalke Betty Lewis ¹⁰ Jean A. Rhodes ⁵ Kay H. Zatine ¹⁵ Mike Lewis Valerie Rice Mr. and Mrs. George* Zonoff ⁵ Henry Li John Richardson II ⁵ Anonymous (25) John Lillard and Julia Kalmus ⁵ Mr. and Mrs. Charles Riley ⁵ Michael Linenberger and Sallie Dacey ⁵ Joel Rindal 5 5 years of consecutive giving Anamaria T. Lloyd Laura Marie and Tim Rivera 10 10 years of consecutive giving Steve Loeb Dr. and Mrs. Tom Robertson ⁵ 15 15 years or more of consecutive giving Mr. and Mrs. Bruce C. Lorig ⁵ Chuck and Annette Robinson ¹⁰ ∞ Monthly Sustaining Donor Sharon and Marty Lott Mike Robinson ♫ Musician Lovett-Rolfe Family Trust ⁵ Mr. and Mrs. Robert Roemer ° Board Member Richard* and Beverly Luce ¹⁵ Stan and Michele Rosen ⁵ ^ Lifetime Director Thomas and Virginia Hunt Luce David Said Martinez ∞ + Staff Kjristine R. Lund ° ⁵ Sara Delano Redmond Fund * In Memoriam Mr. and Mrs. Louis Lundquist ¹⁰ Lt. Col. Nathan Ray Sawyer Maria Mackey Kate and Matthew Scher To our entire donor family, thank you for your support. You Ana and Gustavo Mahler ⁵ Jill Scheuermann and Russell Paquette make our mission and music a reality. Rhonda Maloney ∞ ¹⁰ Thomas and Collette Schick Mary Ann and Ted Mandelkorn Art Schneider and Kim Street ⁵ Did you see an error? Help us update our records by Elliot Margul ⁵ Dr. and Mrs. Jason Schneier ⁵ contacting [email protected] or 206.215.4832. Mark Litt Family DAF of the Jewish Federation Mr. and Mrs. Joseph Schocken ⁵ Thank you! of Greater Seattle ¹⁰ Judith Schoenecker and Christopher L. Myers ¹⁰ Charles T. Massie ∞ ¹⁵ Steve Schroeder and Cheryl Beighle ⁵ Anne and Rick Matsen ∞ Nancy and James Schultz + ¹⁰ Carolyn and Richard Mattern ¹⁰ Janet Sears ∞ ¹⁵ Dr. and Mrs. Paul McCullough Maria Semple John McGarry and Michelle Wernli Virginia Senear ¹⁵ Kevin McGuire Anne Shinoda-Mettler Brooke and Dre McKinney-Ratliff Cindy Shoffner Karen and Rick McMichael ∞ ¹⁵ Sill Family Foundation Melinda McNeely Julie Silvers ∞ ⁵ Christine B. Mead ⁵ Evelyn E. Simpson ∞ ¹⁵ Gunda and Uwe Meissner ⁵ John and Jane Simpson Gail and John Mensher ¹⁰ Dr. Charles Simrell and Deborah Giles ¹⁵

encorespotlight.com 45 SEATTLE SYMPHONY DONORS

HONORARIUM GIFTS Jean-François and Catherine Heitz Louise and Stafford Miller Gifts to the Seattle Symphony are a wonderful way to Doug and Barbara Herrington Gus and Rachel Pineda celebrate a birthday, honor a friend or note an anniversary. In Alice and Paul Hill Llewelyn G. and Joan Ashby Pritchard addition to recognition in the Encore program, your honoree Norm Hollingshead Linda and Wayne Townsen, and family will receive a card from the Symphony acknowledging your Nancy Neraas and Michael King Kenneth and Rosemary Willman thoughtful gift. Dana and Ned Laird Bob Bradbury, by Jeff Lehman and Katrina Russell Jane Ann Bradbury Gifts were made to the Seattle Symphony in recognition of Marks Family Foundation Herb Bridge, by those listed below between July 1, 2018 and September 3, Benjamin and Kelly Martz Leslie J. Chihuly, Chair Emerita 2019. Please contact Donor Relations at 206.215.4832 or Yoshi and Naomi Minegishi Robert D. Brown, by Gary Morse and Ellen Bowman James Wiggins [email protected] if you would like to recognize The Nakajima Family Rev. Frank M. Byrdwell, by someone in a future edition of Encore. John and Laurel Nesholm Frank and Phyllis Byrdwell Rosalind Poll Alec Clowes, by Mary Austin, by Lucy and Herb Pruzan Anonymous Janice and Neill Urano Dana Reid and Larry Hitchon Margaret “Peggy” Corley, by Michael H. Beck, by Vivian and Jim Schwab Anonymous Patricia and Jon Rosen Seattle Symphony Volunteers Kersti Covert, by Rebecca Benaroya, by Janet and Thomas Seery Cristina Covert Vicki Rauscher Evelyn E. Simpson Richard Cross, by Jean Baur Viereck Carlyn K. Stark Carla Cross Renée Brisbois, by Mel and Leena Sturman John and Elizabeth Current, by Chap and Eve Alvord Patricia Tall-Takacs and Gary Takacs Jay Wang and Nancy Current Alexi Chou, by Dr. Robert Wallace Ralph Dockham, by Alex Chou Ms. Andrea Smith-Clarke David Cross, by Thank you to everyone who made a gift in June 2019 in Barney Ebsworth, by Feng Hua and Bin Zhao Leslie J. Chihuly, Chair Emerita David Davis, by response to Ludovic’s invitation to support the Seattle John Fado, by Carissa Hussong Symphony. A full listing of supporters to this campaign can be Peggy Wolff Kathryn L. Dunn, by viewed at seattlesymphony.org/ludovic-legacy. James D. Fouts Sr., by Jane Hargraft and Elly Winer Deborah Lee Fouts James Feddeck, by Kristen Nyquist, by Belinda Jackson, by Martha and Michael Laslavic Senator and Mrs. Daniel J. Evans Jane Hargraft and Elly Winer Alexandra Gardner, by Pat Prinz, by Llewelyn G. and Joan Ashby Pritchard Keith Gardner Hugh Macmahon David Kanofsky, by Nancy Paige Griffin, by Rachmaninoff and Tchaikovsky, by Rae and Howard Mintz Michael Schick and Katherine Hanson Mike Craig Andrew Willinger Megan Hall, by Maurice Ravel, by Serge Kardalian, by Evan Cartwright Kathleen S. Morris Dr. William and Suzanne Phillips Samantha DeLuna and Jesse Bearden Chris and Becca Riley, by Martin Kohlleppel, by Patty Hall, by Tanna Williams Weiying Chen Michael Hershey Jerome L. Rubin, by Jane Leeson-Jackson, by Jane Hargraft, by Patricia and Jon Rosen Geoffrey Jackson Senator and Mrs. Daniel J. Evans Maery Simmons and Jacob Roy, by Gregory J. Linscott, by Emily R. Hunter, by Betsy Groat Barbara Krause Anonymous T.E. and Peggy Spencer, by Norman Lipsky, by Martin Johansson, by John and Nancy McConnell Benjamin and Donna Lipsky Evan Cartwright Pat Takahashi, by Hubert Locke, by Silas Josephson, by Gary Morse and Ellen Bowman Leslie J. Chihuly, Chair Emerita Linda Josephson Neal Traven and Elizabeth Gray, by Llewelyn G. and Joan Ashby Pritchard David Kanofsky, by Mark Linsey and Janis Traven Richard Lundquist, by Rae and Howard Mintz Toshio Uno, by Jinja Yutzy Alyssa Levitz and Christopher Lang, by Anthony Uno Brother Abe Utu Malae, by Richard De Puma Stephen Whyte, by Robert Malae Dmitriy Lipay, by Mr. and Mrs. Butch Blum Kenneth Martin, by Tatyana Kutsy Sherry Tyler Leslie J. Chihuly, Chair Emerita Diena Lukawski, by Jim and Mary Lou Wickwire, by Betty McKenzie, by Russ Mann Melissa and David Wickwire Margaret Spicer Mary Lynch and the Oboe section, by Ko-ichiro Yamamoto, by Virginia Rae McNay, by Mark Linsey and Janis Traven Gregg Hirakawa The Gilbert Family Marcia Mason, by R. Joseph Monsen, by Kathleen and Eric Ottum Llewelyn G. and Joan Ashby Pritchard Tom and Maureen McDonough, by MEMORIAL GIFTS Stanley R. Oldham, by Karen McDonough Gifts were made to the Seattle Symphony to remember those Margaret and John Albin Ludovic Morlot, by listed below between July 1, 2018 and September 3, 2019. For Opa, by René and April Ancinas information on remembering a friend or loved one through a Mr. Michael Holst Patty and Jimmy Barrier memorial gift, please contact Donor Relations at 206.215.4832 Frank Powers, by Rebecca Benaroya or [email protected]. Jane Powers The Larry Benaroya Family Foundation L.E. and R.M. Reese, by Paula Boggs and Randee Fox Ginger Ackerly, by Valerie and Todd Yerkes Rosemary and Kent Brauninger Leslie J. Chihuly, Chair Emerita Bernice Mossafer Rind, by Steve and Sylvia Burges Paul Allen, by Howie Barokas Dr. William Catterall Leslie J. Chihuly, Chair Emerita Lou and Doris Berg Kent and Barbara Chaplin Nancy Alvord, by Leslie J. Chihuly, Chair Emerita John Delo and Elizabeth Stokes Leslie J. Chihuly, Chair Emerita Miriam Gray Dr. Susan Detweiler Elizabeth Bachelor, by Mr. and Mrs. Andrew Harris Liz and Miles Drake Margaret Imhoff Dr. Kennan H. Hollingsworth Jim and Gaylee Duncan William Bain, by Charles and Joan Johnson Jan and Brit Etzold Llewelyn G. and Joan Ashby Pritchard Mr. Steve Loeb Senator and Mrs. Daniel J. Evans Dr. Aaron Bernstein, by Ms. Sandy Lundberg Judith A. Fong Ruth Mendelsohn Bernstein Isa Nelson William Gates Sr. and Mimi Gardner Gates Jeanne Ehrlichman Bluechel, by Susan and James Pass Catherine E. Gleason Gwen and Larry Brown, and family Margaret Pearl William Haines Jo Haldeman Llewelyn G. and Joan Ashby Pritchard Lenore Hanauer Dawn and Paul Meiklejohn Rind Family Foundation

46 SEATTLESYMPHONY.ORG SEATTLE SYMPHONY ENDOWMENT FUND The Seattle Symphony is grateful to the following donors who have made commitments of $25,000 or more to the Endowment Jo-Ellen and Gregory Smith Fund since its inception. The following list is current as of September 3, 2019. For information on endowment gifts and naming Mr. David Thompson opportunities in Benaroya Hall, please contact Becky Kowals at 206.215.4852 or [email protected]. Richard Rosalie Santos, by Anonymous $5 Million + $50,000 - $99,999 Deborah Dawn Schaffer, by The Benaroya Family Dr.* and Mrs.* Ellsworth C. Alvord, Jr. Amanda Schaffer Charles Simonyi Fund for Arts and Sciences Estate of Mrs. Louis Brechemin Jan Shapiro, by Anonymous Estate of Edward S. Brignall Peter Shapiro Frances O. Delaney* Stan Shiebert, by $1,000,000 - $4,999,999 John and Carmen* Delo Arts, Recreation and Literature Department Estate of Lenore Ward Forbes Leslie and Dale Chihuly of Seattle Public Library Estate of George A. Franz The Clowes Fund, Inc. Landry Slade, by Jean Gardner Priscilla Bullitt Collins* Gretchen Van Meter Estate of Mr. and Mrs. Irvin Gattiker Judith Fong Ray and Jane Strohm, by Anne Gould Hauberg* The Ford Foundation Al Ferkovich and Joyce Houser-Ferkovich Richard and Elizabeth Hedreen Dave and Amy Fulton B.K. Walton, by Estate of William K. and Edith A. Holmes Kreielsheimer Foundation Penelope Yonge Susanne F. Hubbach Marks Family Foundation Joan Weber, by John Graham Foundation Estate of Gladys and Sam Rubinstein Dr. Sharon Zerr-Peltner Mr. and Mrs. Stanley P. Jones Samuel* and Althea* Stroum Gwen Jones Whyte, by Estate of Betty L. Kupersmith Dr. Robert Wallace Stephen Whyte John and Cookie* Laughlin $500,000 - $999,999 E. Thomas McFarlan ESTATE GIFTS Estate of Alice M. Muench We gratefully remember the following individuals for their Alex Walker III Charitable Lead Trust Nesholm Family Foundation generosity and forethought, and for including the Seattle Mrs. John M. Fluke, Sr.* Estate of Opal J. Orr Symphony in their estate or endowed fund. Their generosity Douglas F. King M. C. Pigott Family provides vital support for the Symphony now and for future Estate of Ann W. Lawrence PONCHO The Norcliffe Foundation generations. (Estate gifts since September 1, 2017.) Estate of Mrs. Marietta Priebe Estate of Mark Charles Paben Mr. and Mrs. Paul R. Smith James D. and Sherry L. Raisbeck Foundation Shirley Birchfield Estate of Frankie L. Wakefield Joan S. Watjen, in memory of Craig M. Watjen Barbara and Lucile Calef Estate of Marion J. Waller Phyllis B. Clark Washington Mutual $100,000 - $499,999 Frances L. Condie Anonymous Trudel Dean Estate of Glenn H. Anderson $25,000 - $49,999 Beverly Jean Deckelmann Andrew W. Mellon Foundation Carmen Delo Bob and Clodagh Ash Edward and Pam Avedisian Muriel Anita Eisen Dr. and Mrs. Ronald J. Beck Estate of Bernice Baker Sherry Fisher Drs. Janet P. and George* Beckmann The Boeing Company Jane B. Folkrod Alan Benaroya Estate of Ruth E. Burgess Jean Frankland Estate of C. Keith Birkenfeld Barbara and Lucile Calef Natalie Gendler Mrs. Rie Bloomfield* Mrs. Maxwell Carlson Elizabeth C. Giblin The Boeing Company Alberta Corkery* Merle P. Griff and Nadine Griff Mack C.E. Stuart Charitable Trust Norma Durst* Ursula Grosser Sue and Robert Collett Estate of Margret L. Dutton Carol Hahn-Oliver Richard* and Bridget Cooley Estate of Floreen Eastman Sarah C. Hamilton Dr. Susan Detweiler and Dr. Alexander Clowes* Hugh S. Ferguson* Anita Hendrickson Mildred King Dunn Mrs. Paul Friedlander* Dr. Charles E. Higbee and Mr. Donald D. Benedict E. K. and Lillian F. Bishop Foundation Adele Golub Susanne F. Hubbach Estate of Clairmont L. and Evelyn Egtvedt Patty Hall Raymond L. Ingram Estate of Ruth S. Ellerbeck Thomas P. Harville Betty Jane Kreager Senator and Mrs. Daniel J. Evans Harold Heath* Mrs. Sylvia B. Kuebler Fluke Capital Management Phyllis and Bob* Henigson Marian E. Lackovich Estate of Dr. Eloise R. Giblett Michael and Jeannie Herr Arlyne Loacker Agnes Gund Mr. and Mrs. L. R. Hornbeck Fred J. Lorenz Helen* and Max* Gurvich JNC Fund Fern Martin Dr. Charles E. Higbee and Mr. Donald D. Benedict Sonia Johnson* Jean and Peter J. McTavish Harold* and Mary Fran Hill The Keith and Kathleen Hallman Fund Helen A. Overton Estate of Mrs. James F. Hodges David and Karen Kratter Richard Robbins Estate of Ruth H. Hoffman Estate of Marlin Dale Lehrman Dorothy Faye Scholz Estate of Virginia Iverson Estate of Coe and Dorothy Malone DJ Smith-Brooks Estate of Peggy Anne Jacobsson Estate of Jack W. McCoy Phillip Soth Robert C. Jenkins Estate of Robert B. McNett Dr. Joseph S. Spinola Klorfine Foundation Jean and Peter J. McTavish Marion G. Stamper Estate of Charlotte M. Malone Estate of Shirley Callison Miner Samuel and Althea Stroum Bruce R. McCaw Family Foundation PACCAR Foundation Leora and Robert Wheeler Bruce and Jeanne McNae Mr. and Mrs. W. H. Purdy William C. White Microsoft Corporation Estate of Elizabeth Parke Anonymous National Endowment for the Arts Sue and Tom Raschella Northwest Foundation Keith and Patricia Riffle Helen A. Overton Rita* and Herb* Rosen and the Rosen Family Peach Foundation Margaret Rothschild* Estate of Elsbeth Pfeiffer Seafirst Bank Estate of Elizabeth Richards Security Pacific Bank Jon and Judy Runstad Jerry and Jody Schwarz Estate of Joanne M. Schumacher Seattle Symphony Women’s Association Weyerhaeuser Company Patricia Tall-Takacs and Gary Takacs The William Randolph Hearst Foundations U S WEST Communications Estate of Helen L. Yeakel Estate of Dr. and Mrs. Wade Volwiler Estate of Victoria Zablocki Estate of Marion G. Weinthal Anonymous (3) Estate of Ethel Wood Lee and Barbara Yates Anonymous (2)

* In Memoriam

encorespotlight.com 47 MUSICAL LEGACY SOCIETY

We offer our sincere thanks to the following individuals who have remembered the Seattle Symphony with a future gift through their estate. Legacy donors help preserve the beauty of symphonic music and enrich the next generation through the sights and sounds of the orchestra. To let us know you have remembered the Seattle Symphony in your planning or to learn more, please contact Director of Major Gifts & Planned Giving Becky Kowals at 206.215.4852 or [email protected]. The following list is current as of September 3, 2019.

Charles M. and Barbara Clanton Ackerman Jean Gardner William C. Messecar Sonia Spear John and Andrea Adams Cheryl and Billy Geffon Jerry Meyer and Nina Zingale Mary and Gordon Starkebaum Peter Aiau and Susan Ormbrek Natalie Gendler* Charles N. Miller Karen J. Stay Harriet and Dan Alexander Carol B. Goddard Elizabeth J. Miller Diane Stevens Joan P. Algarin Frances M. Golding Mrs. Roger N. Miller Elizabeth Stokes Kathleen Amberg Jeffrey Norman Golub Charles Montange and Kathleen Patterson Victoria Sutter Richard Andler and Carole Rush Dr. and Mrs. Ulf and Inger Goranson Reid and Marilyn Morgan Patricia Tall-Takacs and Gary Takacs Ron Armstrong Betty Graham George Muldrow Gayle and Jack Thompson Elma Arndt Catherine B. Green Marr and Nancy Mullen Art and Louise Torgerson Bob and Clodagh Ash Dr. Martin L. Greene Isa Nelson Betty Lou and Irwin* Treiger Susan A. Austin Susan B. and Richard A. Hall Carolyn Niva Muriel Van Housen Dr. and Mrs. Terrence J. Ball James and Darlene Halverson John and Joyce O’Connell Sharon Van Valin Rosalee Ball Barbara Hannah Gina W. Olson Jean Baur Viereck David W. Barker Martha W. Hanscom Miles Olson Dr. Robert Wallace Murl G. Barker and Ronald E. Miller Harriet Harburn Sarah M. Ovens Nicholas A. Walls Donna M. Barnes Ken* and Cathi Hatch John Palo Jeffrey Ward and Charles Crain Carol Batchelder Michele and Dan Heidt Donald and Joyce Paradine Douglas Weisfield Drs. Janet P. and George* Beckmann Ralph and Gail Hendrickson Dick and Joyce Paul James and Janet Weisman Madeline Beery Deena J. Henkins Jane and Allan Paulson John and Fran* Weiss Rebecca Benaroya Harold* and Mary Frances Hill Margaret Pepin-Donat Robert T. Weltzien Donald/Sharon Bidwell Living Trust Bob Hoelzen and Marlene Botter Lisa Peters and James Hattori Dorothy E. Wendler Dona Biermann Frank and Katie Holland Stuart N. Plumb Gerald W. and Elaine* Millard West Karen Bonnevie Dr. Kennan H. Hollingsworth Roger Presley and Leonard Pezzano Katherine B. and Hollis R. Williams Jay and Carol Bowditch Chuck* and Pat Holmes Mrs. Eileen Pratt Pringle Selena and Steve Wilson Bob* and Jane Ann Bradbury David and Shelley Hovind Mr. and Mrs. W. H. Purdy Ronald and Carolyn Woodard Rosemary and Kent Brauninger Richard and Roberta Hyman John and Suzanne Rahn Arlene A. Wright Sylvia and Steve Burges Janet Aldrich Jacobs James and Sherry Raisbeck Janet E. Wright Dr. Simpson and Dr. Margaret Burke Jennifer James, MD Mary C. Ransdell and Keith B. Wong Rick and Debbie Zajicek Dr. Mark and Laure Carlson Robert C. Jenkins Dana Reid and Larry Hitchon Anonymous (64) Dr. William and Mrs. Mary Ann Champion Clyde and Sandra Johnson J. Stephen and Alice Reid Sue and Robert Collett Dr. Barbara Johnston Richard* and Bonnie Robbins * In Memoriam Patricia Cooke Norman J. Johnston* and Bill* and Charlene Roberts Dr. Marshall Corson and Mrs. Lauren Riker L. Jane Hastings Johnston Junius Rochester Betsey Curran and Jonathan King Atul R. Kanagat Jan Rogers Frank and Dolores Dean Don and Joyce Kindred Patricia and Jon Rosen Robin Dearling and Gary Ackerman Dell King James T. and Barbara Russell Lorraine Del Prado and Thomas Donohue Douglas F. King Peter Russo and Kit Bakke John Delo Stephen and Barbara Kratz Mary Ann Sage Dr. Susan Detweiler and Dr. Alexander Clowes* Tom Kuebler Thomas H. Schacht Fred and Adele Drummond Drs. Kotoku and Sumiko Kurachi Judith Schoenecker and Christopher L. Myers Renee Duprel Frances J. Kwapil Linda and Bruce Scott Sandra W. Dyer M. LaHaise Annie and Leroy Searle Ann R. Eddy Ned Laird Virginia and Allen* Senear David and Dorothy Fluke Bonnie Berry and Peter Lara Leonard* and Patricia Shapiro Gerald B. Folland Paul Leach and Susan Winokur Jan* and Peter Shapiro Judith Fong Kathleen Leahy John F. and Julia P.* Shaw Jack and Jan Forrest Lu Leslan Barbara and Richard Shikiar Russell and Nancy Fosmire Marjorie J. Levar Seymour Silberstein and Julie Grosnick Jon Fourre Mel Longley and Tanya Wanchena-Longley Valerie Newman Sils Jim Fox and Rodney Reagor Thomas and Virginia Hunt Luce Evelyn E. Simpson Jane H. Fox Ted and Joan Lundberg Betty J. Smith Ernest and Elizabeth Scott Frankenberg Judsen Marquardt and Constance Niva Jo-Ellen and Gregory Smith William E. Franklin Ian and Cilla Marriott Katherine K. Sodergren Cynthia L. Gallagher Doug and Joyce McCallum Judith Warshal and Wade Sowers Jane and Richard Gallagher Tom McQuaid Margaret W. Spangler

■ THANK YOU MUSICAL LEGACY SOCIETY MEMBERS! The Seattle Symphony thanks all the individuals and families who have notified us that they have remembered the Symphony with a legacy gift.

By making a gift through your estate you join people like you who care deeply about the future of the Seattle Symphony and want to ensure that audiences experience the magic of the orchestra for generations to come. Your gift will help the Seattle Symphony unleash the power of music, bring people together, and lift the human spirit.

To notify us of your planned gift or to learn more about the Musical Legacy Society, please contact Director of Major Gifts & Planned Giving Becky Kowals at 206.215.4852 or [email protected].

48 SEATTLESYMPHONY.ORG CORPORATE & FOUNDATION SUPPORT

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 September 3, 2019. Thank you for your support — our donors make it all possible!

$500,000+

Seattle Symphony Foundation

$100,000 – $499,999

C.E. Stuart Charitable Trust

$50,000 – $99,999 KCTS 9 † Heartwood Provisions † Eli Lilly & Company Foundation Boeing Company Rosanna, Inc. † Jean K. Lafromboise Foundation Genworth Foundation Google Inc. † Sheri and Les Biller Family Foundation The Lark Ascends † Heritage Distilling † John Graham Foundation Wells Fargo Foundation League of American Orchestras/ Ivar’s † ◊ Ford Musicians Award Laird Norton Wealth Management Wild Ginger Restaurant JTM Construction Martin Selig Real Estate Microsoft Corporation Lagunitas Brewing Company † Morgan Stanley Microsoft Matching Gifts $10,000 – $14,999 MG2 Foundation Muckleshoot Indian Tribe Nesholm Family Foundation Aetna Northwest Security Services Music 4 Life † Precept Wine ◊ The Benaroya Company PONCHO Foundation Peg and Rick Young Foundation Scan|Design Foundation Bill & Melinda Gates Foundation The Ruth and Robert Satter by Inger and Jens Bruun Matching Gifts Puyallup Tribe of Indians Charitable Trust Seattle Foundation Foster Pepper PLLC Starbucks Coffee Company ◊ Tolo Events † Four Seasons Hotel † Tulalip Tribes Charitable Fund UBS Employee Giving Programs $25,000 – $49,999 Fran’s Chocolates † The Westin Hotel, Seattle † Vital Mechanical Bank of America Garvey Schubert Barer † Wells Fargo Private Bank Wilson Sonsini Goodrich & Rosati Foundation Boeing Matching Gifts Program Holland America Line ◊ Wright Runstad Chihuly Studio † Lakeside Industries $3,000 – $4,999 Windstar Cruises † Classic Pianos ◊ Perkins Coie LLP Audi USA Wyman Youth Trust DSquared † Port Blakely The Capital Grille † Grousemont Foundation T.E.W. Foundation Grand Image Art † † In-Kind Support Nordstrom Treeline Foundation Yamaha ◊ Financial and In-Kind Support Peach Foundation U.S. Bank Foundation Atsuhiko & Ina Goodwin Tateuchi Foundation Weill Music Institute † $1,000 – $2,999 Virginia B. Toulmin Foundation Anonymous Addo † Alfred & Tillie Shemanski Trust Fund $15,000 – $24,999 $5,000 – $9,999 Bank of America Foundation Matching Gifts Program Aaron Copland Fund For Music Amphion Foundation Butler Valet † Chihuly Garden + Glass Apex Foundation Consulate General of the Republic of Korea D.A. Davidson & Co. Citi Community Capital in Seattle Davis Wright Tremaine GE Foundation Ebay Matching Gifts Encore Media Group † Glazer's Camera † Educational Legacy Fund K&L Gates † Google Matching Gifts

GOVERNMENT 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.

encorespotlight.com 49 SEATTLE SYMPHONY BENAROYA HALL GUIDE SPECIAL EVENTS SPONSORS & SYMPHONICA, THE SYMPHONY STORE: COUGH DROPS: Cough drops are available COMMITTEES Located in The Boeing Company Gallery, Symphonica is from ushers. open weekdays from 11am–2pm and 90 minutes prior to Special Events provide significant funding each season SERVICES FOR PATRONS WITH DISABILITIES: all Seattle Symphony performances through intermission. to the Seattle Symphony. We gratefully recognize Benaroya Hall is barrier-free and meets or exceeds all our presenting sponsors and committees who make PARKING: Prepaid parking may be purchased criteria established by the Americans with Disabilities these events possible. Individuals who support the online or through the Ticket Office. Act (ADA). Wheelchair locations and seating for those events below are included among the Individual with disabilities are available. Those with oxygen COAT CHECK: The complimentary coat check Donors listings. Likewise, our corporate and foundation tanks are asked to please switch to continuous is located in The Boeing Company Gallery. partners are recognized for their support in the flow. Requests for accommodations should be Corporate & Foundation Support listings. For more LATE SEATING: Late-arriving patrons will be seated made when purchasing tickets. For a full range of information about Seattle Symphony events, please at appropriate pauses in the performance, and are accommodations, please visit seattlesymphony.org. visit seattlesymphony.org/give/special-events. invited to listen to and watch performances on a monitor SERVICES FOR HARD-OF-HEARING PATRONS: located in the Samuel & Althea Stroum Grand Lobby. TEN GRANDS, MAY 11, 2019 An infrared hearing system is available for patrons Kathy Fahlman Dewalt CAMERAS, CELL PHONES & RECORDERS: who are hard of hearing. Headsets are available Co-Founder and Executive Director The use of cameras or audio-recording equipment at no charge on a first-come, first-served basis is strictly prohibited. Patrons are asked to turn off all in The Boeing Company Gallery coat check and COMMITTEE personal electronic devices prior to the performance. at the Head Usher stations in both lobbies. Rosanna Bowles Carla Nichols Cheri Brennan Fawn Spady ADMISSION OF CHILDREN: Children under the age of LOST AND FOUND: Please contact the Head Stephen Dewalt Saul Spady 5 will not be admitted to Seattle Symphony performances Usher immediately following the performance or Tom Horsley Stephanie White except for specific age-appropriate children’s concerts. call Benaroya Hall security at 206.215.4715. Ben Klinger David Woolley-Wilson Victoria Kroehl Barbara Wortley EMERGENCY PHONE NUMBER: Please leave the HOST YOUR EVENT HERE: Excellent dates are Susan Lubetkin appropriate phone number, listed below, and your exact available for those wishing to plan an event in the S. Mark seat location (aisle, section, row and seat number) with Taper Foundation Auditorium, the Illsley Ball Nordstrom OPENING NIGHT GALA, SEPTEMBER 14, 2019 your sitter or service so we may easily locate you in Recital Hall, the Samuel & Althea Stroum Grand the event of an emergency: S. Mark Taper Foundation Lobby and the Norcliffe Founders Room. SUPPORTING SPONSOR Auditorium, 206.215.4825; Illsley Ball Nordstrom Recital Visit seattlesymphony.org/benaroyahall Nordstrom Hall, 206.215.4776. for more information. CO-CHAIRS Jon Rosen Elisabeth Sandler

COMMITTEE DINING AT BENAROYA HALL April Ancinas Judith Fong Leslie Jackson Chihuly Parul Houlahan Linda Cole Ned Laird Zart Dombourian-Eby LOBBY BAR SERVICE: Food and beverage bars in the Samuel & Althea Stroum Grand Lobby are open 75 minutes prior to Seattle Symphony performances and during intermission. Pre-order at the lobby bars before the performance to avoid HOLIDAY MUSICAL SALUTE, DECEMBER 3, 2019 waiting in line at intermission. CO-CHAIRS MUSE, IN THE NORCLIFFE FOUNDERS ROOM AT BENAROYA HALL: Muse blends the elegance of downtown dining Michelle Codd with the casual comfort of the nearby Pike Place Market, offering delicious, inventive menus with the best local and Rebecca Ebsworth seasonal produce available. Open 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 YOUNG PATRON'S COUNCIL opentable.com or call 206.336.6699. CHAIR DAVIDS & CO.: Davids & Co. presents a mashup of barbecue traditions which includes choices like spoon tender pulled Molly Gabel pork, homemade quiche of the day, smoked sliced brisket and other delightful surprises, offering the perfect spot to grab a quick weekday lunch or a casual meal before a show. Davids & Co., located in The Boeing Company Gallery, is open COMMITTEE weekdays from 11am–2pm and two hours prior to most performances in the S. Mark Taper Foundation Auditorium. Sarah Andrabi Eric Jacobs Brittany Breeden Andy Liang HONOR COFFEE: High-end espresso, served exceptionally well, in a warm and welcoming environment. Honor Nathan Chan Bryan Lung Coffee, located in The Boeing Company Gallery, is open weekdays from 6:30am–3:30pm and two hours prior to most Elise Drake Tiffany Moss performances in the S. Mark Taper Foundation Auditorium. Joycelyn Eby Jae Paek Megan Francisco DELICATUS: Delicatus is Seattle’s own Delicatessen specializing in premium deli sandwiches, salads, specialty meats, artisan cheeses, craft beer and wine. Delicatus @ Benaroya Hall, located on the Second Avenue side of the Hall, is open weekdays from 8am–4pm and two hours prior to most performances in the S. Mark Taper Foundation Auditorium.

TICKET OFFICE: The Seattle Symphony Ticket Office is located at Third Avenue & Union Street and is open weekdays 10am–6pm, Saturdays 1–6pm, and two hours prior to performances through intermission. seattlesymphony.org | 206.215.4747 or 1.866.833.4747 | PO Box 2108, Seattle, WA 98111-2108

GROUP SALES: [email protected] | 206.215.4818

SUPPORT YOUR SYMPHONY: The concert you’re about to enjoy is made possible through donations by generous music lovers like you. Learn more and make your gift for symphonic music at seattlesymphony.org/give. You can also call us at 206.215.4832 or mail your gift to PO Box 21906, Seattle, WA 98111-3906.

50 SEATTLESYMPHONY.ORG Photos: Brandon Patoc 5 4 5 / 4 / 3 / 2 /SeattleSymphony musiciansEricHan,celloand 1 / 6 /

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