Morlot C O N D U C T S Beethoven Symphonies Nos

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MARCH 2017

JAMES EHNES PREMIERES AARON JAY KERNIS CONCERTO MORLOT C O N D U C T S BEETHOVEN SYMPHONIES NOS. 5 & 6

DAUSGAARD RETURNS WITH RACHMANINOV CONTENTS

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EAP full-page template.indd 1 2/7/17 11:33 AM CONTENTS MARCH 2017

4 / CALENDAR

6 / THE ORCHESTRA

8 / SIMPLE GIFTS

10 / NOTES

FEATURES 12 / CLASSICAL ROOTS By Thomas Dausgaard, Principal Guest Conductor

14/ ADVENTURE AWAITS Music Director Ludovic Morlot on the 2017–2018 Season

CONCERTS 17 / March 3, 4 & 5 BUGS BUNNY AT THE SYMPHONY II

23 / March 16, 17 & 18 BEETHOVEN “PASTORAL” SYMPHONY

26 / March 23 & 25 BEETHOVEN SYMPHONY NO. 5

30 / March 24 BEETHOVEN UNTUXED

31 / March 26 DISTANT WORLDS: MUSIC FROM FINAL FANTASY 38 / THOMAS DAUSGAARD Photo: Thomas Photo: Grøndahl 33 / March 27 KING’S COLLEGE CHOIR

38 / March 30, 31 & April 1 DAUSGAARD CONDUCTS RACHMANINOV

50 / GUIDE TO THE SEATTLE SYMPHONY

51 / THE LIS(Z)T 26 / BERTRAND CHAMAYOU 33 / CHOIR OF KING’S COLLEGE, CAMBRIDGE Photo: Marco Borggreve – Warner Classics Warner – Borggreve Marco Photo: College, Cambridge Leighton / King’s Kevin Photo:

ON THE COVER: James Ehnes (p. 23) by B. Ealovega COVER DESIGN: Helen Hodges EDITOR: Heidi Staub

© 2017 Seattle Symphony. All rights reserved. No portion of this work may be reproduced in any form or by any electronic or mechanical means without written permission from the Seattle Symphony. All programs and artists are subject to change.

encoreartsseattle.com 3 ON THE DIAL: Tune in to March Classical KING FM 98.1 every & April Wednesday at 8pm for a Seattle Symphony spotlight and CALENDAR the first Friday of every month at 9pm for concert broadcasts.

SUNDAY MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY SATURDAY

■ MARCH 8pm 11am Family Concerts: Bugs Bunny at the Dr. Seuss Green Eggs & Ham 7:30pm Symphony II Seattle Arts & 7:30pm SCGS presents Michael Lectures presents Partington Ben Fountain 8pm Bugs Bunny at 1 2 3 the Symphony II 4

2pm Bugs Bunny at 6pm 7pm 7:30pm Ensign 8pm the Symphony II Friends In-home We Are All Here Symphony & Chorus Showtunes presents Recital* Culminating presents Good News: The Unsinkable 7pm Byron Performance Rejoicing and Praising Molly Brown in Schenkman & Concert Friends: Bach’s 7:30pm Northwest Sinfonietta: Goldberg Variations Havana Heat II 5 6 7 8 9 10 11

2pm Showtunes 7:30pm 12pm 7:30pm Seattle presents The Beethoven “Pastoral” Beethoven “Pastoral” Baroque Orchestra: Unsinkable Molly Symphony Symphony Bach Brandenburg Brown in Concert Celebration

3pm SYSO: Berlioz’s 8pm Beethoven Symphonie “Pastoral” Symphony Fantastique 12 NATIONAL13 GEOGRAPHIC LIVE14 15 16 17 18

2pm 7:30pm 7:30pm 7:30pm 7pm 2pm Philharmonia NW: National Geographic National Geographic National Geographic Beethoven Beethoven Untuxed An Afternoon of P.D.Q. Live: Beauty and the Live: Beauty and the Live: Beauty and the Symphony No. 5 Bach Bizarre Bizarre Bizarre 4 & 8pm A New World: intimate music from FINAL FANTASY 8pm Beethoven 19 20 21 22 23 24 Symphony No. 5 25

4pm 12:30pm Wajten 7:30pm 9am 7:30pm 12pm ■ APRIL Distant Worlds: Concert Organ Seattle Arts & Friends Open Dausgaard Conducts Dausgaard Conducts 2pm SPO: Elgar’s music from FINAL Recital – Free Lectures presents Rehearsal & Rachmaninov Rachmaninov Enigma Variations FANTASY with the Demonstration Bryan Stevenson Discussion* 7:30 pm EMG presents Seattle Symphony 7:30pm The Baltimore Consort 7:30pm King’s Northwest 8pm Dausgaard College Choir Sinfonietta: Art for Conducts 26 27 28 29 30 Arts’ Sake 31 Rachmaninov 1

2pm National 7:30pm National 7:30pm National 10:30am 9:30, 10:30 & 11:30am Geographic Live: Geographic Live: Geographic Live: A Garden Full of A Garden Full of Songs The Mystery of Our The Mystery of Our The Mystery of Our Songs 8pm Human Story Human Story Human Story Rebirth Brass Band 2:30pm EMG presents 7:30pm Live @ 8pm 8pm Live @ Benaroya The Baltimore Consort Rebirth Brass Band 7pm NWAA presents Benaroya Hall: Hall: Max Raabe & An Evening with Neil Tinariwen with Palast Orchester Gaiman 2 3 Dengue Fever 4 5 6 7 8

2pm 7:30pm 7:30pm 7pm 8pm Rachmaninov Rebirth Brass Band Christian Wilson Rachmaninov Rachmaninov Rhapsody on a Rhapsody on a Untuxed Theme of Paganini Theme of Paganini

9 10 11 12 13 14 15

7:30pm Live @ 7:30pm SRJO Benaroya Hall: presents Louis Jóhann Jóhannsson Armstrong: A New featuring American Orleans State of Contemporary Music Mind Ensemble 8pm Morlot 7:30pm Morlot Conducts Bruckner Conducts Bruckner 16 17 18REBIRTH BRASS BAND19 20 21 22

7:30pm 7:30pm 7:30pm 10pm [untitled] 3 7:30pm Leif Ove Andsnes & Seattle Arts & Tchaikovsky Piano Pacific MusicWorks Marc-André Hamelin Lectures presents Concerto No. 1 presents Dido & in Recital Helen Oyeyemi Aeneas

8pm Tchaikovsky Piano 23 24 25 26 27 28 Concerto No. 1 29

LEGEND: Seattle Symphony Events Benaroya Hall Events *Donor Events: Call 206.215.4832 for more information

National Geographic Live (March 19–21) by Anand Varma; Rebirth Brass Band (April 7–9) 4 SEATTLESYMPHONY.ORG

SSO077-Calendar.indd 1 2/16/17 12:44 PM ■ ON THE BEAT YEFIM BRONFMAN See Who’s IN RECITAL Here to Hear APRIL 18

Esteemed Israeli-American pianist Yefim Bronfman returns to Seattle for a powerhouse solo recital, featuring Debussy’s ethereal Suite bergamasque and Stravinsky’s sparkling masterpiece, Petrushka.

EMERSON STRING QUARTET WITH PIANIST CRAIG SHEPPARD APRIL 21

The world-renowned Emerson Quartet presents a new work by British composer Mark Anthony Turnage — and teams up with UW Piano Professor Craig Sheppard for Dvořák’s soulful Piano Quintet No. 2. Photo: James Holt James Photo: TICKETS STILL AVAILABLE I’ve been going to Seattle Symphony MEANYCENTER.ORG 206-543-4880 concerts for a couple years. I’m a musician. I play guitar, piano and a little violin as well. I try and dabble across all the genres I can. Right now I’m working with a band called Naked Giants, they’re a surf-rock, garage-rock band. Recently I’ve been listening to a lot of Talking Retire in style. Heads, David Bowie. With classical, what I’ve always admired is the ability to bring Mirabella Seattle surrounds you with together all these different timbres into the best of the city and the most one and make it sound so cohesive. luxurious services and amenities in — Brian town. No matter what you choose to do, you’ll experience stylish, worry- free urban living at its finest.

Call today to find out how you can CONNECT WITH US: retire in the middle of it all, with a full Share your photos using #SeattleSymphony and follow @seattlesymphony on Facebook, continuum of care at your fingertips. Instagram and Twitter. Download the Listen Boldly app to easily purchase tickets, skip the Ticket Office lines and receive exclusive offers. 206-254-1441 retirement.org/mirabellaseattle

seattlesymphony.org Mirabella Seattle is a Pacific Retirement Services community and an equal housing opportunity. TICKETS: 206.215.4747 GIVE: 206.215.4832

encoreartsseattle.com 5 LUDOVIC MORLOT SEATTLE SYMPHONY MUSIC DIRECTOR

French conductor Ludovic will also see the release of several more recordings on the Morlot has been Music Director Orchestra’s label, Seattle Symphony Media. A box set of of the Seattle Symphony music by Dutilleux was recently released to mark the 100th since 2011. Amongst the anniversary of the composer’s birth. many highlights of his tenure, the orchestra has won three Ludovic Morlot was Chief Conductor of La Monnaie for Grammy Awards and gave an three years (2012–14). During this time he conducted several exhilarating performance at new productions including La Clemenza di Tito, Jenu°fa Carnegie Hall in 2014. and Pelléas et Mélisande. Concert performances, both in Brussels and Aix-en-Provence, included repertoire by During the 2016–2017 season Beethoven, Stravinsky, Britten, Webern and Bruneau. Morlot and the Seattle Symphony will continue to Trained as a violinist, Morlot studied conducting at the invite their audiences to Royal Academy of Music in London and then at the Royal “listen boldly,” presenting College of Music as recipient of the Norman del Mar

Photo: Lisa-Marie Mazzucco Lisa-Marie Photo: Ravel’s L’enfant et les Conducting Fellowship. Morlot was elected a Fellow of sortilèges, completing their the Royal Academy of Music in 2014 in recognition of his cycle of Beethoven symphonies and piano concertos and several significant contribution to music. He is Chair of Orchestral world premieres including compositions by Agata Zubel and Gabriel Conducting Studies at the University of Washington School Prokofiev. All of this will be complemented by the Seattle Symphony’s of Music and lives in Seattle with his wife, Ghizlane, and highly innovative series, Sonic Evolution and [untitled]. This season their two children.

SEATTLE SYMPHONY ORCHESTRA ROSTER

LUDOVIC MORLOT Thomas Dausgaard, Principal Guest Conductor Pablo Rus Broseta, Douglas F. King Associate Conductor Harriet Overton Stimson Music Director Joseph Crnko, Associate Conductor for Choral Activities Gerard Schwarz, Rebecca & Jack Benaroya Conductor Laureate

FIRST VIOLIN Mara Gearman Judy Washburn Kriewall HORN HARP Open Position Timothy Hale Zartouhi Dombourian-Eby Jeffrey Fair Valerie Muzzolini Gordon David & Amy Fulton Concertmaster Vincent Comer Charles Simonyi Principal Horn Principal Open Position Penelope Crane PICCOLO Mark Robbins Supported by Eliza and Brian Shelden Clowes Family Associate Concertmaster Wesley Anderson Dyring Zartouhi Dombourian-Eby Associate Principal Cordula Merks Sayaka Kokubo Robert & Clodagh Ash Piccolo Jonathan Karschney KEYBOARD Assistant Concertmaster Rachel Swerdlow Assistant Principal Kimberly Russ, piano +** Simon James Julie Whitton OBOE Jenna Breen Joseph Adam, organ + Second Assistant Concertmaster Mary Lynch John Turman PERSONNEL MANAGER Jennifer Bai CELLO Principal Adam Iascone Mariel Bailey Efe Baltacıgil Supported by anonymous donors Scott Wilson Cecilia Poellein Buss Marks Family Foundation Principal Cello Ben Hausmann TRUMPET ASSISTANT PERSONNEL Ayako Gamo Meeka Quan DiLorenzo Associate Principal David Gordon MANAGER Timothy Garland Assistant Principal Chengwen Winnie Lai The Boeing Company Principal Trumpet Supported by their children in memory of Keith Higgins Leonid Keylin Stefan Farkas Alexander White Helen and Max Gurvich Mae Lin Assistant Principal Nathan Chan LIBRARY Mikhail Shmidt ENGLISH HORN Geoffrey Bergler Eric Han Clark Story Stefan Farkas Patricia Takahashi-Blayney John Weller Bruce Bailey TROMBONE Principal Librarian Roberta Hansen Downey Robert Olivia Jeannie Wells Yablonsky CLARINET Ko-ichiro Yamamoto Walter Gray Associate Librarian Arthur Zadinsky Benjamin Lulich Principal Vivian Gu Jeanne Case Mr. & Mrs. Paul R. Smith Principal David Lawrence Ritt SECOND VIOLIN Joy Payton-Stevens Librarian Clarinet Stephen Fissel Elisa Barston David Sabee Laura DeLuca Rachel Swerdlow Principal Assistant Librarian Dr. Robert Wallace Clarinet BASS TROMBONE Michael Miropolsky BASS Eric Jacobs Stephen Fissel John & Carmen Delo Jordan Anderson TECHNICAL DIRECTOR Assistant Principal Second Violin Mr. & Mrs. Harold H. Heath Joseph E. Cook E-FLAT CLARINET TUBA Kathleen Boyer Principal String Bass Laura DeLuca Christopher Olka** ARTIST IN ASSOCIATION Gennady Filimonov Joseph Kaufman Dale Chihuly Evan Anderson Assistant Principal Principal BASS CLARINET Natasha Bazhanov Ted Botsford HONORARY MEMBER Brittany Boulding Jonathan Burnstein Eric Jacobs TIMPANI Cyril M. Harris † Stephen Bryant Jennifer Godfrey Michael Crusoe Linda Cole Travis Gore BASSOON Principal + Resident Xiao-po Fei Jonathan Green Seth Krimsky Matthew Decker Artur Girsky Principal Assistant Principal † In Memoriam Andrew Yeung FLUTE Paul Rafanelli ** On Leave Open Position Mike Gamburg PERCUSSION VIOLA Principal Michael A. Werner Susan Gulkis Assadi Supported by David J. and Shelley CONTRABASSOON Principal Hovind PONCHO Principal Viola Mike Gamburg Michael Clark Jeffrey Barker Arie Schächter Matthew Decker Associate Principal Assistant Principal

6 SEATTLESYMPHONY.ORG ■ ALEXANDER WHITE Assistant Principal Trumpet Photo: James Holt James Photo:

Alexander White collects kitchen gadgets almost as fast as he collects trumpets. Right now he has 16.

Trumpets, that is.

“Well, if you go through in order, I have B-flat, C, D, E-flat, Piccolo A, Piccolo B-flat, then you have flugelhorn, cornet and rotary trumpet, also in a couple different keys,” says White. “Then there’s a few extra horns lying around too.”

His latest passion, however, is sous-vide cooking. “Stefan Farkas, English Horn, introduced me to sous-vide,” says White. “There are a few of us that get together pretty often — Stefan, David Gordon and Geoffrey Bergler. The trumpet players definitely have a thing for passing around ideas.”

White lives in a small condo in Belltown, so he appreciates having a way to cook that doesn’t require as much space as a grill. “We have this local company, Sansaire, that makes this sous-vide machine that you put in a bath of water and then it circulates the water to a certain temperature,” says White. “And you put things in bags and cook them very, very slowly.”

What’s the advantage to cooking this way?

“It keeps the water at a very exact temperature so the entire steak is evenly cooked,” says White. “You sear it afterwards by putting in on a pan, or even more fun, you take out your Home Depot blow torch and hit the steak with it for a few minutes.”

For more on the Seattle Symphony, visit seattlesymphony.org/stories.

encoreartsseattle.com 7 ■ SIMPLE GIFTS Accelerator YMCA

The Seattle Symphony partners with Accelerator YMCA, which provides crucial programs and services to more than 10,000 young people and their families every year. The Accelerator YMCA is the largest provider of housing for homeless young adults in King County, helping over 350 young people each year to secure safe and stable housing. The Accelerator YMCA offers a wide breadth of services for young people and their families including Housing & Transition Planning, Education & Employment, Family Support, Behavioral Health, Leadership Development, and Violence Prevention. Youth and families from the Accelerator YMCA community have the opportunity to attend Seattle Symphony concerts free of charge.

Accelerator YMCA is one of 17 partners in the Seattle Symphony’s Simple Gifts initiative which brings the healing power of music to those who previously or are currently experiencing homelessness.

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

SEATTLE SYMPHONY BOARD OF DIRECTORS

Jon Rosen Kjristine Lund Dick Paul Secretary* Vice Chair, Audiences & Communities* Vice Chair, Governance* LESLIE JACKSON CHIHULY Chair* Michael Slonski Woody Hertzog Stephen Whyte Treasurer* Vice Chair, Development* Vice Chair, Finance*

DIRECTORS Jeff Hussey DESIGNEES Cynthia Bayley Marilyn Morgan Marco Abbruzzese Walter Ingram Robin Denis Alexandra Brookshire Isa Nelson Rebecca Layman Amato Susan Johannsen President, Seattle Symphony Phyllis Byrdwell Marlys Palumbo René Ancinas Nader Kabbani Chorale Phyllis Campbell Sally G. Phinny Claire Angel Elizabeth Ketcham Ryan Douglas Mary Ann Champion James Raisbeck

Sherry Benaroya Ryo Kubota President, WolfGang Advisory Robert Collett Sue Raschella Council James Bianco Ned Laird* David Davis Bernice Rind Carmen Spofford Rosanna Bowles Paul Leach* Dorothy Fluke Jill Ruckelshaus President, Seattle Symphony Renée Brisbois Jeff Lehman David Fulton H. Jon Runstad Volunteers Paul Brown Dawn Lepore Jean Gardner Martin Selig Valerie Muzzolini Gordon Susan Detweiler Brian Marks* Ruth Gerberding John Shaw Orchestra Representative Kathy Fahlman Dewalt Michael Mitrovich James Gillick Langdon Simons, Jr.+ Zartouhi Dombourian-Eby Larry Estrada Hisayo Nakajima Barbara Goesling Charles Z. Smith+ Orchestra Representative Cookie Neil Gerald Grinstein Linda Stevens Nancy Evans Simon Woods Nancy Neraas Cathi Hatch Patricia Tall-Takacs Jerald Farley President & CEO Judith Fong Laurel Nesholm* Steven Hill Marcus Tsutakawa Brian Grant Sheila Noonan LIFETIME DIRECTORS Ken Hollingsworth Cyrus Vance, Jr. Martin L. Greene Jay Picard* Llewelyn Pritchard Pat Holmes Karla Waterman Jeremy Griffin Dana Reid Chair David Hovind Ronald Woodard Patty Hall Elisabeth Beers Sandler Richard Albrecht Henry James Arlene Wright Terry Hecker Bayan Towfiq Susan Armstrong Hubert Locke Jean-François Heitz* Robert Wallace Robert Ash J. Pierre Loebel * Executive Committee Member Kenneth Martin Joaquin Hernandez William Bain + In Memoriam Parul Houlahan Bruce Baker Yoshi Minegishi

SEATTLE SYMPHONY FOUNDATION BOARD OF DIRECTORS

JEAN-FRANÇOIS HEITZ Kathleen Wright James Bianco J. Pierre Loebel Muriel Van Housen President Vice President Brian Grant Laurel Nesholm Rick White Michael Slonski Treasurer Leslie Jackson Chihuly David Tan

BENAROYA HALL BOARD OF DIRECTORS

NED LAIRD President Mark Reddington Vice President Dwight Dively Chris Martin Leo van Dorp Nancy B. Evans Secretary Zartouhi Dombourian-Eby Tom Owens Simon Woods Michael Slonski Treasurer Jim Duncan Fred Podesta

8 SEATTLESYMPHONY.ORG SEATTLE SYMPHONY | BENAROYA HALL ADMINISTRATIVE STAFF An Afternoon SENIOR MANAGEMENT TEAM Lauren Eastman, Francis Ho, DEVELOPMENT Simon Woods Brendan McCullen Shaina Shepherd President & CEO Discovery Coordinators Development Officer (Assistant to VP of of P.D.Q. Bach Leslie Jackson Chihuly Chair Development & Grants) Featuring Jeffrey Biegel, piano Charlie Wade COMMUNICATIONS Renee Duprel Senior Vice President of Marketing Heidi Staub Associate Vice President of Development & Business Operations Editor & Publications Manager (Campaign) Saturday, March 25 Jennifer Adair James Holt Maria Kolby Wolfe at 2:00 PM Vice President & General Manager Digital Content Manager Major Gifts Officer (Campaign) Benaroya Hall Maureen Campbell Melville Andrew Stiefel Betsy Wohlers Vice President & Chief Financial Officer Social Media & Content Manager Development Officer (Campaign)

Rosalie Contreras Becky Kowals Vice President of Communications MARKETING Director of Major Gifts and Planned Giving Elena Dubinets Christy Wood Nicholas Walls, Marsha Wolf Vice President of Artistic Planning Director of Marketing Major Gift Officers Jane Hargraft Rachel Spain Amy Bokanev Vice President of Development Marketing Manager Gift Officer Kristen NyQuist Kyle Painter Jessica Lee, Tess Benson Director of Board Relations Marketing Operations Coordinator Development Coordinators (Major Gifts) & Strategic Initiatives Barry Lalonde Paul Gjording Laura Reynolds Director of Digital Products Senior Major Gift Officer Director of Education & Community Jason Huynh (Foundations & Government Relations) Engagement Digital Marketing Manager Megan Hall Concerto for Simply Herb Burke Director of Development Operations Grand Piano and Orchestra EXECUTIVE OFFICE Tessitura Manager Alicia Archambault New Commission! Rachel Moore Gerry Kunkel Stewardship Manager Executive Assistant to the President & CEO and plus Selected choral works Corporate & Concierge Accounts Manager Senior Vice President Martin K. Johansson Jessica Forsythe Development Communications Manager ARTISTIC PLANNING Art Director Jacob Roy Data Operations Manager Paige Gilbert Helen Hodges Assistant Artistic Administrator Graphic Designer Maery Simmons Data Entry Coordinator Rose Gear Forrest Schofield Personal Assistant to the Music Director Group Services Manager Tami Horner Senior Manager of Special Events Dmitriy Lipay Joe Brock & Corporate Development Director of Audio & Recording Retail Manager Zoe Funai Blaine Inafuku Christina Hajdu Special Events Manager Photo © Peter Schaaf Artist Services, Media & Chorale Manager Sales Associate Brent Olsen Ryan Hicks Corporate Development Manager ORCHESTRA & OPERATIONS Ticket Sales Manager Kelly Woodhouse Boston Aaron Gunderson FINANCE & FACILITIES Director of Operations Assistant Sales Manager David Nevens Ana Hinz Nina Cesarrato, Molly Gillette Controller Production Manager Ticket Office Coordinators Clem Zipp Scott Wilson Asma Ahmed, Mary Austin, Assistant Controller Personnel Manager Melissa Bryant, Mike Obermeyer, James Bean, CaraBeth Wilson, Lance Glenn Keith Higgins Elizabeth Ylaya Information Systems Manager Assistant Personnel Manager Ticket Services Associates Megan Spielbusch Patricia Takahashi-Blayney Accounting Manager Principal Librarian VENUE ADMINISTRATION Jacqueline Moravec Robert Olivia Matt Laughlin Payroll/AP Accountant Associate Librarian Director of Facility Sales Marwa Aliwi Jeanne Case James Frounfelter, Adam Moomey Staff Accountant Librarian Event & Operations Managers Bernel Goldberg Joseph E. Cook Sophia El-Wakil General Counsel Technical Director Facilities Sales & Operations Coordinator David Ling Mark Anderson, Jeff Lincoln Keith Godfrey Facilities Director Assistant Technical Directors House Manager Kevin Baker Chris Dinon, Don Irving, Aaron Tanya Wanchena Facilities Manager Gorseth, John Roberson, Michael Assistant House Manager & Usher Scheduler Schienbein, Ira Seigel Bob Brosinski Stage Technicians Milicent Savage, Patrick Weigel Lead Building Engineer Assistant House Managers Aaron Burns, Damien De Witte EDUCATION & Dawn Hathaway, Lynn Lambie, Mel Building Engineers COMMUNITY ENGAGEMENT Longley, Ryan Marsh, Markus Rook Rodney Kretzer Head Ushers Becky Spiewak Facilities & Security Coordinator Education & Community Engagement Manager Laura Banks, Everett Bowling, Veronica Boyer, Evelyn Gershen Katie Hovde HUMAN RESOURCES Assistant Head Ushers Program Associate Kathryn Osburn Ron Hyder Jessica Andrews-Hall, Lena Console, Human Resources Generalist Technical Coordinator Sonya Harris, Jesse Harvey, Rafael Karya Schanilec Howell, Zachary Kambour, Shelby Receptionist/Marketing Assistant Leyland, Leslie McMichael, Rebecca Morhlang, Dana Staikides Teaching Artists

TICKETS: 206.215.4747 | DONATIONS: 206.215.4832 | ADMINISTRATIVE OFFICES: 206.215.4700 VISIT US ONLINE: seattlesymphony.org | FEEDBACK: [email protected]

encoreartsseattle.com 9 NEWS FROM: ■ GRAMMY WIN! LESLIE JACKSON CHIHULY, BOARD CHAIR

Welcome to Benaroya Hall.

Link Up: Seattle Symphony culminates this month as over 10,000 students take over Benaroya Hall. Through this program, Puget Sound elementary school students in grades 3–5 have the opportunity to experience music through participatory curriculum, learning songs to sing and play on the recorder. This preparation Photo: Scott Leen Photo: at school culminates in a live performance at Benaroya Hall in March when students play along with our orchestra from their seats. This is an unforgettable and invaluable experience for these students, and I am happy to report that the program continues to expand reaching more students in Washington State.

Congratulations to Dmitriy Lipay and As our organization finds new ways to serve, engage and inspire, our musicians Alexander Lipay on their 2017 Grammy are dedicated to their work in prisons presenting chamber concerts and working Award for Best Surround Sound Album! with mothers at Mary’s Place to express themselves through lullabies for their children. Our teaching artists regularly bring music to dozens of community Seattle Symphony Director of Audio & partners in an effort to give the gift of music to our most underserved, including Recording Dmitriy Lipay and Alexander kids, the elderly and the homeless. Lipay won the Grammy for Best Surround

Sound Album at the 2017 Grammy Awards. As a part of our Simple Gifts initiative, we are collaborating again with our This dynamic father and son duo was also partner organization Path with Art on a project, We Are All Here. Inspired by the nominated for Best Engineered Album, understanding that in order to solve community problems, we must first come Classical. Both nominations were for their together as a community, We Are All Here uses poetry, visual art and music to work on the third installment in the all- bring diverse populations together for meaningful conversation and collaborative Dutilleux series on the Seattle Symphony expression. The project, which started in the Fall, concludes with a performance Media label. on March 8 at Benaroya Hall when Path with Art students and a Seattle Symphony chamber ensemble share the music and art they created. The recording is part of a three-disc project also available in a box set, devoted I’d like to take this opportunity to invite you to save the date for our annual Club to Dutilleux. The recording features live Ludo fundraiser at the Chihuly Boathouse on Friday, June 9 — a curated musical performances of Sur le même accord; Les evening not to be missed. Also, be sure to renew your subscription for the 2017– citations; Mystère de l’instant and Timbres, 2018 season, which promises to be another outstanding year of music. espace, mouvement.

With gratitude, “I am thrilled to see Dima and Sasha win this Grammy,” Seattle Symphony Music Leslie Jackson Chihuly Director Ludovic Morlot said. “Dima is Seattle Symphony Board Chair the best colleague a Music Director can dream of having, and our collaboration over the past several years has been a true

inspiration to the Seattle Symphony and me. The Grammy for Best Surround Sound

is one that is awarded across all genres of music, so I am immensely proud to see him win this award for our label with the NOTA BENE { beautiful music of Henri Dutilleux.”

SUBSCRIBE TO THE MUSIC YOU LOVE You won’t want to miss a moment of the 2017–2018 Dmitriy Lipay served as surround mix season! Renewal deadline for current subscribers is April 1. Secure your seats today and engineer, surround mastering engineer

get ready for an unforgettable season ahead! Interested in subscribing? Pick up a season and surround producer on this album, and brochure to see the numerous subscription packages to find the one that’s right for you. Alexander Lipay served as surround mix engineer. { {

WELCOME NATHAN! We’re happy to welcome cellist Nathan Chan to the Seattle Learn more about this Grammy-winning Symphony this month. Nathan studied at Juilliard and Columbia University and has a recording at seattlesymphony.org/recordings. growing internet presence with over 6.1 million views. Find out more about Nathan and { our other musicians at seattlesymphony.org/stories.

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EAP full-page template.indd 1 2/14/17 12:15 PM CLASSICAL ROOTS BY THOMAS DAUSGAARD, PRINCIPAL GUEST CONDUCTOR

Russian Orthodox Church. Characteristic of this music — and later Rachmaninov’s — are the melismatic melodic movements (long-spun and step-wise), a modal harmonic language and resonant low voices. Rachmaninov also held a fascination of the medieval Latin Dies Irae motif as well as the sound of chiming or bell ringing, both present in several of his works. So for all its bursting passion and dazzling virtuosity, there is a spiritual side embedded in Rachmaninov’s musical language. To open our ears to these roots in his music we have invited specialists Cappella Romana led by Alexander Lingus to sing Russian Liturgical Music for us in the concert, excitingly making us aware of what could have been in Rachmaninov’s ears!

Last season when the Seattle Symphony and I performed a symphony by my fellow-countryman, Carl Nielsen, I was bowled over by the connection between his music and the Photo: Thomas Photo: Grøndahl Thomas Dausgaard, Principal Guest Conductor fantastic musicians in the orchestra — they owned it! We quickly rearranged our second program this season on June 8, 9 and 10 to include another favorite symphony by Nielsen, his Third, here does music come from? What influenced some called Sinfonia Espansiva — because of its expansive opening of the most wonderful music that we know and love? movement, explosive in its vitality. Unusually, two singers join How can we as musicians and music-lovers get closer the orchestra for the lyrical ending to the second movement, Wto the mystery of what makes the composer’s pen move? Are where they soar above the orchestra in wordless melisms (like there possible sources of inspiration that audiences in the past Rachmaninov!) as a kind of Adam-and-Eve-like trance. would have picked up on — cross-references which we might be less aware of today? To open the program we give the American Premiere of one of this season’s most successful works in the series of commissions These are some of the big questions that we’ll be trying to give by me and the BBC Scottish Symphony Orchestra, called answers to in some of our concerts this season and again next Scottish Inspirations: Helen Grime’s Snow, inspired by the season. We can call these concerts “roots” as we dig to discover atmospheric painting by Joan Eardley of a snowclad landscape possible roots of inspiration, hoping to perform and listen to our in a remote part of the Scottish East coast. It is also a joy to repertoire in new ways. welcome back one of the most interesting violinists who joined us in the Sibelius Festival some seasons back, Pekka Kuusisto, In the first “roots” concert on March 30, 31 and April 1 we performing the sublime Violin Concerto by Mendelssohn — perform two beloved masterworks by Rachmaninov: his First incidentally the first work Pekka and I performed together 19 Piano Concerto and his Second Symphony. Our soloist will years ago. be Alexander Melnikov, who performed this concerto for the first time at the age of 12! I am fascinated with an undercurrent On June 15 and 17 we perform R. Strauss’ final tone poem, the to much of Rachmaninov’s music: the singing in the style of Alpine Symphony with a different take on its “roots.” A life’s Gregorian chant that he would have heard as a child in the journey expressed through the symbolism of a hike up and down

12 SEATTLESYMPHONY.ORG Photo: Kaapo Kamu Kaapo Kamu Photo: Kalotay Florian Photo: Pekka Kuusisto, violin Gun-Brit Barkmin, soprano

Germany where Strauss ended up living, and where the Alps We can call these have mythical presence. And perhaps getting a feeling for why the Alps with its folklore of life-affirming vitality was the ultimate setting for Strauss’ ambitious symphonic life journey. Recently concerts “roots” as we dig I performed Strauss’ Salome with an exceptional singer, so completely at one with the role as Salome and with Strauss’ to discover possible roots particular mix of large-scale drama and Lieder-like intimacy. I am very happy in these concerts to introduce her — Gun-Brit of inspiration, hoping to Barkmin — in her Seattle Symphony debut. She will sing with us Strauss’ Four Last Songs — a glowing farewell from the very end perform and listen to our of Strauss’ own life’s journey. repertoire in new ways. I am looking forward to being back in Seattle to explore the “roots” of Rachmaninov and Strauss, as well as performing music from my country in three exciting programs in the company of great soloists, a great orchestra — and a great audience! a mountain, and felt through the hiker’s emotional response Best wishes, in the music. But why the Alps? The symphony is full of natural THOMAS imagery perhaps of more or less any mountain, but where have the sounds of the local alpine traditions gone in this work? The Thomas Dausgaard has been the Seattle Symphony’s sounds of the people who live there at the mercy of the Alps Principal Guest Conductor since the 2014–2015 season. is strikingly missing. At our concerts we are going to change For more information on him and these performances, visit that! We will fill the Hall with sounds from this southern part of seattlesymphony.org.

encoreartsseattle.com 13 ADVENTURE AWAITS Music Director Ludovic Morlot on the 2017–2018 Season BY ANDREW STIEFEL

When I met with There is a special focus next season on Berlioz. What do Seattle Symphony you love about his music? Music Director Ludovic Morlot to Berlioz was born not far from where I grew up, so I developed discuss the new a special connection with his music when I was young. In his season, one of the music I hear a completely unique and revolutionary voice. He first things I wanted was writing shortly after Beethoven and he had to completely to know was: how find his own way. His parents were not musicians and he does he do it? defied the musical establishment of his time. Out of this came his beautiful and innovative music. We’ll start the season with “I have hundreds of his cantata, The Death of Cleopatra, in September and we’ll ideas for programs, play Les nuits d’été, the Requiem and Symphonie fantastique enough for ten in November. seasons at least,” laughs Morlot. Are there standout programs next season that people “The hard part is might overlook? choosing which ones to present We will present a fully staged concert featuring Stravinsky’s each year.” Morlot Persephone in April. It will be an unforgettable evening — says he keeps a magnificent soloists, dancers, giant puppets and three choirs. Photo: Lisa-Marie Mazzucco Lisa-Marie Photo: journal filled with Michael Curry is making the puppets and scenery for us. He ideas for concerts. has designed puppets for the Olympics, Disney, the Super When he’s traveling between engagements, he starts by writing Bowl, Cirque du Soleil and the Metropolitan Opera. down a piece and then listing all the possible pairings he could make with it. Of course I should mention the Prokofiev Concerto Festival, a celebration of Bernstein’s centenary, the Vivaldi Project… “Every piece will bring out something different,” says Morlot. That sounds exciting! Could you share a little more about The result is a season packed with great artists — Jeremy the Vivaldi Project? Denk, Renée Fleming, Gidon Kremer, Kenneth Tarver — and an enticing mix of repertoire. In many ways, the 2017–2018 Dmitry Sinkovsky will lead our Baroque & Wine series next season is the pinnacle of everything Morlot has been working season. He’s an amazing artist — conductor, countertenor and towards since he joined the Seattle Symphony: broadening the violinist — and an expert on Vivaldi. Each concert will explore repertoire, commissioning new music and promoting cross-genre a facet of Vivaldi’s music, including his Gloria and The Four collaborations. Seasons.

“I trust our audience and I hope they trust me,” says Morlot. “That You’ve said in the past that commissioning music creates they know we’ll provide an element of familiarity and opportunities your voice as a conductor. What premieres can we look to hear their favorite music, but also that we’ll take them on a forward to next season? journey. We have premieres by John Luther Adams, Alexandra “I want to share my love for all this music with them.” Gardner, David Lang and Andrew Norman. I’m excited to welcome John back for another collaboration. We’ll premiere Read on as Morlot shares his personal highlights from the 2017– his latest orchestral work, Become Desert, in March. This is 2018 season and pick up a brochure in the lobby for more details part of an orchestral cycle that began with Become River and about the concerts in the upcoming season! Become Ocean.

14 SEATTLESYMPHONY.ORG Photo: Brandon Patoc Brandon Photo:

“Classical music has always been an important part of our lives. We love the Symphony and are excited to see how it has flourished these past several years. We are proud to play a part in their mission of being an orchestra for all people, and creating community through this wonderful music.” – Carole and Rich

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SEATTLESYMPHONY.ORG/GIVE | 206.215.4832 March 2017 Volume 30, No. 7

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SEATTLESYMPHONY.ORG 16 EAP 1_3 S template.indd 1 1/10/17 9:03 AM SEATTLE POPS SERIES Title Sponsor SEATTLE POPS SERIES Friday, March 3, 2017, at 8pm TITLE SPONSOR Saturday, March 4, 2017, at 8pm Sunday, March 5, 2017, at 2pm BUGS BUNNY AT THE SYMPHONY II George Daugherty, conductor | Seattle Symphony

THE SEATTLE SYMPHONY THANKS MCM FOR MAKING THE SEATTLE POPS Starring BUGS BUNNY SERIES POSSIBLE.

Conducted by GEORGE DAUGHERTY

Created and Produced by GEORGE DAUGHERTY & DAVID KA LIK WONG

Also Starring ELMER FUDD DAFFY DUCK PORKY PIG WILE E. COYOTE ROAD RUNNER TWEETY SYLVESTER PEPE LE PEW PENELOPE PUSSYCAT GRANNY GIOVANNI JONES . . . and special guest starring appearance by TOM AND JERRY

Music by CARL W. STALLING MILT FRANKLYN SCOTT BRADLEY Based on the Works of Wagner, Rossini, von Suppé, J. Strauss II, Smetana, Liszt, Mendelssohn, and Donizetti

Animation Direction by CHUCK JONES FRIZ FRELENG ROBERT CLAMPETT TEX AVERY ROBERT McKIMSON ABE LEVITOW WILLIAM HANNA JOSEPH BARBERA

Voice Characterizations by MEL BLANC ARTHUR Q. BRYAN as Elmer Fudd JUNE FORAY HANS CONRIED and NICOLAI SHUTOROV as Giovanni Jones

“Rabid Rider” and “Coyote Falls” Directed by MATTHEW O’CALLAGHAN, Music by CHRISTOPHER LENNERTZ

Produced in Association with IF/X PRODUCTIONS SAN FRANCISCO

Official Website www.BugsBunnyAtTheSymphony.net Original Soundtrack Recording on WATERTOWER MUSIC www.watertower-music.com Follow Bugs Bunny At The Symphony on Facebook, Instagram, and Twitter! Post your own concert photos with the hashtag #BugsBunnyAtTheSymphony

Please turn off all electronic devices and refrain from taking photos or video. Performance ©2017 Seattle Symphony. Copying of any performance by camera, audio or video recording equipment, and any other use of such copying devices during a performance is prohibited.

encoreartsseattle.com 17 THE PROGRAM

ACT I

THE DANCE OF THE COMEDIANS “BACK ALLEY OPROAR” (Scene) TOWN MUSIC from “The Bartered Bride” Music by Carl W. Stalling by Bedřich Smetana “Largo Al Factotum” by Gioachino Rossini from Project Trio THE WARNER BROS. FANFARE “The Barber of Seville” Music by Max Steiner Story by Michael Maltese and Tedd Pierce “MERRILY WE ROLL ALONG” Animation Direction by FRIZ FRELENG (“The Merrie Melodies Theme”) Music by Charles Tobias, Murray Mencher, “ZOOM AND BORED” and Eddie Cantor, Music by Carl W. Stalling and Milt Franklyn Arranged and Orchestrated by Based on “The Dance of the Comedians” Carl W. Stalling from “The Bartered Bride” by Bedřich Smetana “BATON BUNNY” Story by Michael Maltese Music by Milt Franklyn Animation Direction by Based on the Overture to CHUCK JONES “Morning, Noon, and Night in Vienna” by Franz von Suppé PEPE LE PEW, LE CHANTEUR Story by Michael Maltese ROMANTIQUE Animation Direction by “FOR SCENT-IMENTAL REASONS” CHUCK JONES and ABE LEVITOW (Scenes) Music by Carl W. Stalling “SHOW BIZ BUGS” Story by Michael Maltese Music by Milt Franklyn Animation Direction by CHUCK JONES “Jeepers Creepers” by Harry Warren “A SCENT OF THE MATTERHORN” and Johnny Mercer (Scene) “Those Endearing Young Charms” Music by Milt Franklyn Irish Folk Melody, words by “Tiptoe Through The Tulips” Thomas Moore Music by Joe Burke, Story by Warren Foster and Lyrics by Al Dubin Animation Direction by Story and Animation Direction by FRIZ FRELENG CHUCK JONES “SCENT-IMENTAL ROMEO” (Scenes) “RHAPSODY RABBIT” Music by Carl W. Stalling Music by Carl W. Stalling “Baby Face” Music by Harry Akst, Based on “Hungarian Rhapsody No. 2” and Lyrics by Benny Davis by Franz Liszt Story and Animation Direction by Piano Solo performed by Jakob Gimpel CHUCK JONES Story by Tedd Pierce and Michael Maltese Animation Direction by “THE RABBIT OF SEVILLE” FRIZ FRELENG Music by Carl W. Stalling Based on the Overture to ”JOHANN MOUSE” (Scenes) “The Barber of Seville” Music by Scott Bradley, by Gioachino Rossini after Johann Strauss II Story by Michael Maltese Piano Solos by Jakob Gimpel Animation Direction by Narrated by Hans Conried CHUCK JONES Story and Animation Direction by WILLIAM HANNA and JOSEPH BARBERA --INTERMISSION-- and Genre-busting “TOM AND JERRY IN THE HOLLYWOOD ACT II BOWL” Music by Johann Strauss II “RABID RIDER” chamber music (Overture to “Die Fledermaus”) Music by Christopher Lennertz Music Originally Arranged by Executive Producer: Sam Register April 19, 2017 Scott Bradley Story by Tom Sheppard Story and Animation Direction by Animation Director by TOWNHALLSEATTLE.ORG WILLIAM HANNA and JOSEPH BARBERA MATTHEW O’CALLAGHAN

18 SEATTLESYMPHONY.ORG 2016-2017 SEASON

and “COYOTE FALLS” Music by Christopher Lennertz Story by Tom Sheppard Executive Producer: Sam Register Story by Tom Sheppard Animation Direction by MATTHEW O’CALLAGHAN

“LONG-HAIRED HARE” Music by Carl W. Stalling after Wagner, von Suppé, Donizetti, and Rossini Story by Michael Maltese Animation Direction by CHUCK JONES

“ROBIN HOOD DAFFY” (Scenes) Music by Milt Franklyn The future has never sounded better. Story by Michael Maltese Animation Direction by CHUCK JONES MARCH 12 AT BENAROYA HALL “WHAT’S OPERA, DOC?” Music by Milt Franklyn Benjamin Ash Based on music from “The Flying Collide-o-Scope (World Premiere) Dutchman,” “Die Walküre,” “Siegfried,” “Götterdämmerung,” “Rienzi,” and “Tannhäuser” by Richard Wagner George Gershwin Story by Michael Maltese Animation Direction by Piano Concerto in F CHUCK JONES Caleb Ren, piano soloist

MERRIE MELODIES “THAT’S ALL FOLKS!” Hector Berlioz Music Arranged and Orchestrated by Symphonie Fantastique Op. 14 Carl W. Stalling Voice Characterization by Noel Blanc APRIL 30 AT BENAROYA HALL

Program Subject To Change Without Notice. Gustav Mahler Symphony No. 6 in A Minor “Tragic” LOONEY TUNES and all related characters and elements © & TM Warner Bros. Entertainment Inc. TOM AND JERRY and all related characters and elements © & TM Turner Entertainment Co. WB SHIELD: TM & © WBEI. (s17) TICKETS ON SALE NOW

206.362.2300 | syso.org

encoreartsseattle.com 19 PRODUCTION, CREATIVE and TOURING STAFF Music Transcription and Restoration Ron Goldstein Caryn Rasmussen Creator / Music Director / Conductor / Producer Sound Design, Sound Effects, Leo Marchildon George Daugherty and Re-Mastering Robert Schietroma Robb Wenner Cameron Patrick Creator / Producer / Technical Director / John Larabee Robert Guillory Tour Director David Ka Lik Wong Charles Fernandez Audio Mixer and Tour Sound Supervisor . . . and special thanks to Production Touring Musicians (Rotating) Marty Bierman USC/Warner Bros. Music Archives Jo Pusateri, Principal Percussion and Slide Robb Wenner Guitar Music Copyists Kelly Hale, Principal Pianist New CGI Animation Elements Caryn Rasmussen Leo Marchildon, Co-Principal Pianist/Slide Lawton Design Robert Schietroma Guitar Michael Hernandez Keisuke Nakagoshi, Co-Principal Pianist New Animation Elements John Norine Brenda Vahur, Co-Principal Pianist Warner Bros. Animation Jeff Turner Robert Schietroma, Principal Percussion Valle Music Emeritus Audio CD Producers Judy Green Music George Daugherty Co-Producer Amy Minter David Ka Lik Wong Webmaster and Website Designer Steve Linder Lorelei McCollough Art Director, CGI Producer, and Graphics/ Animation Designer Melinda Lawton Sound Effects Editors Video and Audio Production Coordinated Robb Wenner and Executed by Editors John Larabee IF/X Productions San Francisco George Daugherty David Ka Lik Wong Music Supervisors Exclusive Worldwide Representation Scott Draper David Ka Lik Wong IMG ARTISTS Mark Beutel Caryn Rasmussen Peter Koff Maureen Taylor, Special thanks to Keep Me Posted, Burbank Click Masters Vice President, Tour and Artist Management Mako Sujishi Special Effects and CGI/Animation Editor Robb Wenner Meera Vijayendra, Shawn Carlson John Larabee Asia/Pacific Consultant Kristopher Carter IF/X WISHES TO EXTEND ITS SPECIAL THANKS TO: Warner Bros.; Warner Bros. Consumer Products; Warner Bros. Animation; WaterTower Music; The Sydney Symphony, The Sydney Opera House, and The Sydney Opera House Recording Studios and Facilities; The Power Station Recording Studios, New York; U.S.C. Film School/Scoring for Motion Pictures and Television; U.S.C. Film/Music Archives; U.C.L.A. Film Archives; The Chuck Jones Center for Creativity; Chuck Jones Enterprises; Linda Jones Productions; Post Effects Chicago; Screen Magazine; and very special personal thanks to Isabelle Zakin, Bruce Triplett, Foote Kirkpatrick, Ruth L. Ratny, Mike Fayette, Rick Gehr, Melinda Lawton, and Charlene Daugherty.

George Daugherty dedicates this concert to the memory of his mother, Charlene Elizabeth YOUR SYMPHONY. Daugherty

YOUR LEGACY. BUGS BUNNY AT THE SYMPHONY II had its world premiere on July 5, 2013, at the Hollywood Bowl, with the Los Angeles Making a gift through your will or estate ensures Philharmonic

the orchestra thrives long into the future, BUGS BUNNY AT THE SYMPHONY had its continuing to bring people together and lift the world premieres on May 7, 2010, at the Sydney Opera House with the Sydney Symphony; and human spirit through the power of music. July 16, 2010, at the Hollywood Bowl, with the Los Angeles Philharmonic.

BUGS BUNNY ON BROADWAY had its world For more information on planned giving and how you can make a future gift, contact premiere on June 16, 1990 at the San Diego [email protected] | 206.215.4852 Civic Theatre; its Broadway premiere at the Gershwin Theatre, New York City, on October 2, 1990; and its international premiere on May 15, 1996 at the Sydney Opera House, Sydney, Australia.

20 SEATTLESYMPHONY.ORG BUGS BUNNY and on tour, including to the United States DAVID KA LIK WONG and Canada with Julie Andrews and Bugs Bunny is one of Christopher Plummer. David Ka Lik Wong the most recognized won an Emmy Award cartoon characters in Mr. Daugherty has also conducted the as producer of Peter the world, whose symphony orchestras of Dallas, Houston, and the Wolf (1996) and signature phrase Seattle, Baltimore, Montreal, Milwaukee, was also nominated for “What’s Up, Doc?” has Buffalo, Vancouver, Toronto, Atlanta, an Emmy in 1994 as long since entered the Fort Worth, San Antonio, Indianapolis, producer of ABC’s English language. Cincinnati, Louisville, Syracuse, Winnipeg, Rhythm & Jam music Columbus, Edmonton, North Carolina, education specials, Bugs’ first ‘reel’ appearance in front of Charlotte, Delaware, Phoenix, Grant Park, which he created with George Daugherty. his soon-to-be-adoring public was in A and many others, as well as the Rochester He also produced the CD-ROM version of Wild Hare directed by Tex Avery. Since Philharmonic, Hollywood Bowl Orchestra, Peter and the Wolf for Time Warner then, Bugs’ zany antics in hundreds of National Arts Centre Orchestra, Calgary Interactive. He was senior producer for the cartoon favorites have made him a legend Philharmonic, Pacific Symphony, and many Warner Bros. documentary The Magical throughout the world. others. His international credits include the World of Chuck Jones. Danish National, Moscow, West Australia, This cool, collected, carrot-chomping rabbit Melbourne, and Adelaide symphony He co-created, and has produced, the is the unequivocal superstar of the Looney orchestras; as well as the Malaysian Bugs Bunny series of symphony-and-film Tunes family. With never a ‘hare’ out of Philharmonic Orchestra; Ireland’s RTÉ concerts, starting with Bugs Bunny On place he always manages to outsmart his Concert Orchestra; Russian National Broadway in 1991, and followed by Bugs adversaries, whoever they may be. He’s a Orchestra; Auckland Philharmonia; Bunny at the Symphony in 2010, and Bugs real American icon who has graced the TV Orquesta Sinfonica de Venezuela; New Bunny at the Symphony II in 2013. He and cinema screens the world over. Japan Philharmonic; and the major Italian also co-produced the original Broadway opera houses of Rome, Florence, Torino, recording/CD for Warner Bros. Records Bugs Bunny’s cartoons have twice been and Reggio Emilia. in 1990, and the 2013 Sydney Symphony nominated for Academy Awards, and his recording/CD for Water Tower Music. Knighty Knight Bugs won a coveted Oscar. He has conducted for renowned ballet Bugs has starred in four films in addition dancers including Baryshikov and Nureyev, Mr. Wong has produced concerts for New to his hundreds of animated shorts and 21 as well as for American Ballet Theatre, York Philharmonic, the National Symphony prime time television specials. Bavarian Staatsoper Ballet, La Scala Ballet, Orchestra, The Philadelphia Orchestra, and Teatro Regio di Torino. He has been the Royal Philharmonic, Sydney Opera music director of Ballet Chicago, Chicago House, San Francisco Symphony, Los GEORGE DAUGHERTY City Ballet, Louisville Ballet, and Ballet San Angeles Philharmonic, Wales Millennium Jose, and is now Music Director of Les Centre, Sinfonia Britannia, and many George Daugherty has other orchestras. He has also produced conducted more than Ballets Trockadero de Monte Carlo, with Christmas concerts for both San Francisco 150 American and whom he soon debuts at The Kennedy Symphony, and Canada’s National Arts international orchestras Center Opera House. Centre with the National Arts Centre and earned a Orchestra. He is also producer and co- Primetime Emmy George Daugherty received a Primetime creator of the touring concerts Rodgers & Award, five Emmy Emmy as executive producer of ABC’s Hammerstein on Stage and Screen, and nominations, and animation-and-live action production of Meredith Willson’s The Music Man at the numerous other awards Prokofiev’sPeter and the Wolf, which he Symphony. for his work in television and film. He made also directed, wrote, and conducted, and

his debut with the New York Philharmonic for which he was also Emmy nominated Mr. Wong teamed with George Daugherty, at Avery Fisher Hall in May 2015, and has for Outstanding Music Direction. He was Amy Tan, and the Sesame Workshop frequently conducted the Los Angeles executive producer/writer of the Emmy- to produce the Emmy Award-winning Philharmonic at The Hollywood Bowl, and winning PBS/Sesame Workshop series children’s series Sagwa, The Chinese the National Symphony Orchestra at Wolf Sagwa, The Chinese Siamese Cat, based Siamese Cat. Based on the book by Ms. Trap, appearing with each orchestra more on Amy Tan’s book, and received an Emmy Tan, the series premiered on PBS in 2001. than 20 times. Recent appearances nomination for his ABC music education He also wrote a number of episodes include the Pittsburgh Symphony, the series Rhythm & Jam. for the series and story edited all 80 Cleveland, Philadelphia, and Minnesota segments. Among his numerous honors orchestras; and the Hong Kong Mr. Daugherty (with David Wong) created are the Grand Award of both the Houston Philharmonic. He has been a frequent Bugs Bunny on Broadway in 1990, and Chicago International Film Festivals, a guest conductor with San Francisco followed by Bugs Bunny at the Symphony Silver Award of the Chicago Film Festival, Symphony since his debut in 1998, and (2010) and Bugs Bunny at the Symphony two Parents’ Choice Awards, and the Kids has also conducted often at the Sydney II (2013). The concerts have played to First Award. Opera House, and with the Sydney millions of people worldwide. He is also Symphony Orchestra, with whom he also conductor, producer, and co-creator of the David Ka Lik Wong was born in Hong recorded; as well as at Mexico’s Bellas film/concertsRodgers & Hammerstein on Kong, and moved to San Francisco with Artes Opera House, and with the Royal Stage and Screen, and Meredith Willson’s his family when he was a teenager. He still Philharmonic Concert Orchestra in London The Music Man at the Symphony. calls San Francisco home.

encoreartsseattle.com 21 JOIN US TODAY! FOUNDERS CIRCLE A BOLD EXPRESSION OF SUPPORT Join a community of supporters who share your commitment to the orchestra and you’ll enjoy premium behind-the-scenes experiences and exclusive access to the Norcliffe Founders Room for wine, coffee and tea during concert intermission.

SEATTLESYMPHONY.ORG/GIVE | 206.215.4733 | [email protected] Thursday, March 16, 2017, at 7:30pm PROGRAM NOTES Friday, March 17, 2017, at 12 noon Saturday, March 18, 2017, at 8 pm FROM MUSIC DIRECTOR LUDOVIC MORLOT BEETHOVEN As we approach the centenary of Debussy’s death, we have a wonderful “PASTORAL” SYMPHONY opportunity to examine some of the composer’s works that are not played very often; Printemps is one of these. Like Beethoven’s “Pastoral” Symphony, Ludovic Morlot, conductor it is not focused on representing nature James Ehnes, violin so much as the feelings encountered when one interacts with nature. Seattle Symphony It has always been our mission to CLAUDE DEBUSSY Printemps 15’ champion American composers, such /orch. Henri Büsser Très modéré as Aaron Jay Kernis. It is real treat to Modéré welcome violinist James Ehnes as a soloist with the Seattle Symphony again AARON JAY KERNIS Violin Concerto (U.S. Premiere) 30’ to premiere Kernis’ Violin Concerto. Chaconne Ehnes has been such a great player Ballad in the Seattle musical scene due to Toccatini his role as Artistic Director of the JAMES EHNES, VIOLIN Seattle Chamber Music Society.

INTERMISSION Wrapping up our Beethoven cycle, it’s wonderful to come back to Beethoven’s Symphony No. 6. I performed this piece LUDWIG VAN BEETHOVEN Symphony No. 6 in F major, Op. 68, “Pastoral” 41’ early on in my tenure with Seattle Awakening of cheerful feelings on arriving in Symphony. I always look forward to the country: Allegro ma non troppo repertoire that I’ve already performed Scene by the brook: Andante molto mosso with the orchestra, as it gives us a Happy gathering of villagers: Allegro— chance to push our mutual understanding Lightning, Thunderstorm: Allegro— of the music to yet another level. Shepherd’s Song; cheerful and thankful feelings after the storm: Allegretto JOIN US TODAY! See Ludovic Morlot’s biography on page 6. Pre-concert Talk one hour prior to performance. Speaker: Aaron Grad, composer and writer CLAUDE DEBUSSY Printemps Post-concert Recital following the performance on Saturday, March 18 James Ehnes, violin, Christina Siemens, soprano and Aaron Jay Kernis, piano BORN: August 22, 1862, in Saint-Germain-en- FOUNDERS CIRCLE Laye, France The commission by Aaron Jay Kernis is generously supported by Patricia Tall-Takacs and DIED: March 25, 1918, in Paris, France Gary Takacs. James Ehnes’ performances are generously underwritten by Dana and Ned Laird WORK COMPOSED: 1887 A BOLD EXPRESSION OF SUPPORT through the Seattle Symphony’s Guest Artists Circle. WORLD PREMIERE: April 18, 1913, in Paris. This concert is presented as part of the Seattle Symphony’s New Music WORKS initiative, which is Join a community of supporters who share your commitment to the orchestra and supported in part by a grant from the National Endowment for the Arts. New Music WORKS features After studying at the Paris Conservatoire, commissions, concerts and educational activities that use composition as a catalyst for collaboration Claude Debussy earned the most coveted you’ll enjoy premium behind-the-scenes experiences and exclusive access to the and engagement in music. accolade for young French composers: the Prix de Rome. The prize included a Norcliffe Founders Room for wine, coffee and tea during concert intermission. two-year residency at the Villa Medici in Rome and a requirement to send a

Please note that the timings provided for this concert are approximate. certain amount of new music back to SEATTLESYMPHONY.ORG/GIVE | 206.215.4733 | [email protected] Please turn off all electronic devices and refrain from taking photos or video. France, which prompted Debussy to Performance ©2017 Seattle Symphony. Copying of any performance by camera, audio or video recording create the symphonic suite for wordless equipment, and any other use of such copying devices during a performance is prohibited. female chorus, piano and orchestra that he titled Printemps (“Spring”).

encoreartsseattle.com 23 PROGRAM NOTES

Debussy’s musical approach in Printemps AARON JAY KERNIS of the past are built: the largest, most combined a solid grounding in French searching arguments come first, followed Violin Concerto tradition with a healthy fascination with by the shorter, slower lyrical utterance, and Richard Wagner. At this early career ending with the even shorter closer that stage, the 24-year-old Debussy had yet BORN: January 15, 1960, in Philadelphia, is fast, zippy and hair-raisingly difficult. to encounter the Javanese gamelan Pennsylvania music and other international sounds But here there is much that differs from CURRENTLY RESIDES: New York, New York that swept into Paris during the 1889 the past. WORK COMPOSED: 2017 World’s Fair; nor had he entered his WORLD PREMIERE: close association with the Symbolist March 16, 2017, in Seattle, The first movement, Chaconne, comes poets (including Stéphane Mallarmé Washington. distantly from the Baroque form of a set of and Paul Verlaine), whose experimental variations over a repeated series of chords. approach to sound and syntax helped Before Aaron Jay Kernis dedicated himself This is the most dramatically charged and shape Debussy’s palette in Prelude to to composing and playing the piano, he changeable movement, with the opening the Afternoon of a Faun and beyond. began his musical life at age 10 studying downward melody (and underlying chords) the violin. His love for stringed instruments in the violin being the basis of all that The original version of Printemps is lost, and his uncanny sensitivity to their voice- follows. This theme is constantly varied but we know that Debussy still regarded like qualities have informed his most in character and color over the entire it highly enough that he published an celebrated compositions, including his movement and returns in its original, arrangement for chorus and piano in String Quartet No. 2 (winner of the 1998 most dramatic statement at its end. 1904. In 1912 he supervised the creation Pulitzer Prize), Colored Field for cello of the version heard here for orchestra and orchestra (winner of the coveted Ballad is the songful, jazzy, French- without chorus, a transcription executed Grawemeyer Award in 2002), Air for violin tinged lyrical middle movement with an by Debussy’s trusted colleague Henri and orchestra (nominated for a Grammy), angular, wrenching center. The language Büsser. This version preserves a favored and Lament and Prayer (a Holocaust of Two Movements (with Bells) returns role for the piano, using two pianists on memorial for violin and orchestra). here with hints of the blues and the one keyboard to enrich the textures. In influence of the harmony of composer the very first phrase, the piano intones Kernis provided the following Olivier Messiaen, an idol of mine. a falling and rising theme in unison description of his new Violin Concerto, with a solo flute, a sound reminiscent a work co-commissioned by the Finally, the energy of Toccatini closes the of the iconic flute solo that begins Seattle Symphony for James Ehnes: piece. A Toccata is a fast and virtuosic Prelude to the Afternoon of a Faun. “touch-piece” from the Baroque era. I In 2007 I unexpectedly heard from the BBC thought this would be a tiny or teeny The opening movement, conjuring the in London asking me to write a recital piece toccata. It’s not atypical to find this type gradual stirrings of springtime, possesses for a violinist whose playing I didn’t know. of mashup in my music, with bits of jazz, that gauzy shimmer that we know and Once I was supplied with some recordings, hints of Stravinsky and Messiaen, machine- love in Debussy’s orchestral music, even it was clear that he was a fire-breathing music, and wild strings of notes all over the if the harmonic escapades are not yet (young) master at the instrument, and I violin. It gives James ever more chances at their most exploratory. (The chromatic unhesitatingly agreed. Out of that came my to show his mettle, and it showcases his wanderings were plenty outrageous first collaboration with James Ehnes, Two great ability to shape many thousands to the conservative French composers Movements (with Bells), a piece that he of notes with flair, joy and intensity. supervising the Rome Prize, prompting has now played many times and recorded. the first recorded instance of Debussy Making (playing, writing and listening to) The concerto is dedicated to James Ehnes, being chastised for “impressionism” — a music is indeed a journey, often starting with great admiration and friendship. It comparison to the disruptive painting when you least expect it; my journey was generously commissioned by four trend.) The second movement becomes with James Ehnes has led directly to this splendid orchestras and music directors: more lively and dance-like in its joyful moment and this big new violin concerto. the Toronto Symphony and Peter celebration of the season of rebirth. Oundjian; the Seattle Symphony and Since 2009 I’ve had the good fortune Ludovic Morlot; the Dallas Symphony and Scored for 2 flutes and piccolo; 2 to write concertos for various wonderful Jaap van Zweden; and the Melbourne oboes and English horn; 2 clarinets; players and combinations — cello, viola, Symphony and Sir Andrew Davis. 2 bassoons; 4 horns; 2 trumpets; 3 flute, trumpet, chamber orchestra and trombones; timpani and percussion; piano, with one for horn upcoming. I’ve – Aaron Jay Kernis harp; piano 4-hands and strings. tried to make them all different, keeping their form, content and expression Scored for solo violin; 2 flutes and piccolo; fresh for me and for listeners. 2 oboes and English horn; 3 clarinets, the third doubling bass clarinet; 3 bassoons, This newest work for James Ehnes the third doubling contrabassoon; 4 horns; follows the essential three-movement 3 trumpets; 3 trombones; tuba; timpani and form on which many bedrock concertos percussion; harp; piano and celeste; strings.

24 SEATTLESYMPHONY.ORG JAMES EHNES Violin

“playing of phenomenal control, allied to LUDWIG VAN BEETHOVEN for increased turbulence and activity, instead sinks deeper into a country calm, musicianship of the Symphony No. 6 in F major, Op. 68, savoring each radiant chord change. highest order.” “Pastoral” – The Times, London The second movement, Scene by the Known for his BORN: brook, establishes a lapping triplet pulse December 1770, in Bonn, Germany virtuosity and probing under another mere wisp of melody. The B. Ealovega Photo: DIED: March 26, 1827, in Vienna, Austria idyllic scene ends with a trio of birdcalls musicianship, violinist WORK COMPOSED: 1808 from the woodwinds, representing a James Ehnes has performed in over 35 WORLD PREMIERE: December 22, 1808, in nightingale, quail and cuckoo. From countries on five continents. Honored with Vienna here, the symphony diverges from a many international awards and prizes, typical four-movement pattern. There is including a Grammy, a Gramophone, and Beethoven composed the Fifth and a scherzo-like third movement, Happy eleven Juno Awards, Ehnes’ extensive Sixth symphonies concurrently in 1808, gathering of villagers, but the rollicking discography of over 40 recordings featuring and he introduced them together (with dance music halts unresolved and is music ranging from J.S. Bach and Antonio their numbers switched) as part of a supplanted by the first staccato raindrops Vivaldi to John Adams and Aaron Jay Kernis. four-hour extravaganza in Vienna. The of the Lightning, Thunderstorm. Fearful Born in 1976 in Brandon, Manitoba, Canada, following year, they were published in dissonances and thunderous timpani he began violin studies at the age of 4, and the familiar order, with adjacent opus strikes make for a convincing tempest, at age 9 became a protégé of Canadian numbers. Beethoven’s Sixth stands as until it trails off in one last upward patter violinist Francis Chaplin. He studied with one of the first programmatic symphonies, from the flute. A clarinet takes over to Sally Thomas at the Meadowmount School using descriptive movement headings establish the sing-song contours of the of Music and at The Juilliard School, winning to evoke specific ideas and images. Shepherd’s Song; cheerful and thankful the Peter Mennin Prize for Outstanding The “Pastoral” nickname came from feelings after the storm. This tune, at Achievement and Leadership in Music upon Beethoven himself, when he marked once humble and heroic, returns the his graduation. He is a Member of the Order the parts for the initial performance with symphony to its pastoral calm. Near the of Canada, an Honorary Member of the the heading “Pastoral Symphony, or end, a hymn-like variant lends a deeper Royal Academy of Music in London, and a Recollections of Country Life: More an resonance to this sunny conclusion. Fellow to the Royal Society of Canada and Expression of Feeling than Painting.” has received honorary doctorates from Scored for 2 flutes and piccolo; 2 oboes; 2 Brandon University and the University of Beethoven’s journals and letters reveal clarinets; 2 bassoons; 2 horns; 2 trumpets; British Columbia. James Ehnes plays the his love of nature, as when he wrote in 2 trombones; timpani and strings. “Marsick” Stradivarius of 1715. 1810, “How delighted I will be to ramble for awhile through the bushes, woods, © 2017 Aaron Grad FROM THE ARTIST: under trees, through grass, and around “The music of Aaron Jay Kernis has been rocks. No one can love the country a big part of my musical world for a long as much as I do. For surely woods, time now. He first wrote a piece for me in trees, and rocks produce the echo that 2007, an extraordinary work for violin and man desires to hear.” Recognizing and piano called Two Movements (with Bells), appreciating the natural world was a commissioned by the BBC Proms. In the cornerstone of the Romantic ethos, and ensuing years we forged a close friendship, Beethoven’s “Pastoral” Symphony joined and it became a great dream of mine to have a common thread in music, art and him write me a violin concerto. His music literature of the early 19th century that is always inventive, moving, colorful, and rhapsodized on the beauty and grandeur above all, honest. It’s these qualities that I am of the natural world, with a reverence so excited about in his new violin concerto. that was in no small part spiritual. It’s a big, emotionally ambitious work, and one that I think is going to be an important Just as the first four notes of the Fifth addition to the violin concerto repertoire. Symphony influence every measure Working on this with my friend Ludovic of the opening movement, the Sixth Morlot and the wonderful Seattle Symphony Symphony builds an expansive essay is going to be a joy, and performing it in out of a seemingly naïve theme. The Seattle has a special significance for me; I first movement, characterized as the have had a 23 year association with this city Awakening of cheerful feelings on arriving through the Seattle Chamber Music Society, in the country, enters bashfully, with four of which I am now Artistic Director, and I quiet measures that trail off. Fragments have also enjoyed a regular relationship of this figure build slowly, basking in long with the Symphony for over a decade. I can stretches of unmoving harmony. The honestly say that I could not be more excited development section, often an opportunity for this project!”

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Thursday, March 23, 2017, at 7:30pm Saturday, March 25, 2017, at 8pm BEETHOVEN SYMPHONY NO. 5

Ludovic Morlot, conductor Bertrand Chamayou, piano Seattle Symphony

LUDWIG VAN BEETHOVEN Overture to Die Geschöpfe des Prometheus 5’ (“The Creatures of Prometheus”), Op. 43

BÉLA BARTÓK Piano Concerto No. 2, Sz. 95, BB 101 28’ Allegro Adagio—Presto—Più adagio Allegro molto BERTRAND CHAMAYOU, PIANO

INTERMISSION

BOHUSLAV MARTINŮ Památník Lidicím 8’ (“Memorial to Lidice”), H. 296—

(Please hold applause)

LUDWIG VAN BEETHOVEN Symphony No. 5 in C minor, Op. 67 32’ Allegro con brio Andante con moto Scherzo: Allegro— Allegro

Pre-concert Talk one hour prior to performance. Speaker: Dr. Larry Starr, University of Washington Chair of American Music Studies and Waters Endowed Professor

Bertrand Chamayou’s performances are generously underwritten by James and Sherry Raisbeck through the Seattle Symphony’s Guest Artists Circle. Audience Development supported by The Wallace Foundation. Saturday performance sponsored by Microsoft.

Please note that the timings provided for this concert are approximate. Please turn off all electronic devices and refrain from taking photos or video. Performance ©2017 Seattle Symphony. Copying of any performance by camera, audio or video recording equipment, and any other use of such copying devices during a performance is prohibited.

26 SEATTLESYMPHONY.ORG PROGRAM NOTES

FROM MUSIC DIRECTOR which runs through its initial movement LUDWIG VAN BEETHOVEN and beyond. No other musical motif LUDOVIC MORLOT is so widely recognized or carries so Overture to Die Geschöpfe des This program is an exploration of ideas much significance. Even if one knows Prometheus (“The Creatures of surrounding music in the time of war, the nothing of Beethoven’s biography and Prometheus”), Op. 43 journey from darkness to light and how circumstances, one senses its power. each of us addresses that journey. I wanted BORN: December 16, 1770, in Bonn to experiment with playing Beethoven’s Those qualities and the drama of conflict DIED: March 26, 1827, in Vienna Symphony No. 5 directly after Bohuslav and eventual triumph that plays out WORK COMPOSED: 1810 Martinů’s Memorial to Lidice, as the over its four movements account for the famous “fate” motive from the opening of iconic status this symphony has attained WORLD PREMIERE: March 28, 1801, in Vienna Beethoven’s symphony is also used by in Western culture. Beethoven has come Martinů as the climax to Lidice. In doing to represent the Romantic ideal of the Beethoven wrote a considerable quantity so, I hope to make the journey from dark artist-hero, that solitary and suffering of dance music over the course of his to light in Beethoven’s symphony yet more individual who transcends trying career. Most of this took the form of stark by starting with an even darker, tenser circumstances by dint of genius and minuets and other short pieces suitable tone than is present in the symphony itself. struggle, and it is the Fifth Symphony, for social dancing, which the composer Béla Bartók’s Piano Concerto No. 2 is the with its strife-torn first movement and himself enjoyed as a form of recreation most aggressive, brassy and raw sounding exultant finale, that gives this view its (though reportedly with more enthusiasm of Bartók’s piano concertos, and connects most vivid musical expression. than skill). As for theatrical dance, quite well to Beethoven’s Fifth Symphony. Beethoven ventured just once into the But the Fifth Symphony’s intimation field of ballet, that excursion coming at Beethoven’s overture to the ballet Die of crisis and overcoming has acquired the instigation of Salvatore Vigano. Geschöpfe des Prometheus also relates larger meaning. Most famously, the thematically to Martinů’s Memorial to work’s signature four-note motif became One of the most acclaimed artists of his Lidice; Prometheus is a Greek mythological an emblem for embattled England day, Vigano began his career in his native figure who stole fire from Mount Olympus during the dark days of World War II. Italy but in 1793 came to Vienna, where and gave it to humankind for its benefit. More than its short–short–short–long he enjoyed success as both a dancer The village of Lidice was obliterated by rhythm coinciding with Morse code’s and choreographer. Vigano’s productions the Nazis, an extreme example of the letter V (for “Victory”), the sense of and portrayals must have been moving, destruction that fire can create when resolute defiance it conveyed made it for Stendhal called him a genius with “an harnessed by evil. It is up to humankind a perfect symbol for the British as they imagination in the style of Shakespeare.” to decide how to use fire, and to braced for a possible invasion of their Vigano probably encountered Beethoven determine the direction of our journey, island homeland. in 1800 and before the end of that year from light to dark or dark to light. provided the young composer a detailed It surely was with this in mind that the scenario for which to write music. See Ludovic Morlot’s biography on page 6. Czech composer Bohuslav Martinu˚ quoted the opening of Beethoven’s This scenario entailed an allegorical symphony toward the end of his treatment of the Prometheus legend. It Struggle and Triumph poignant Memorial to Lidice. That work, tells nothing of the mythical hero bringing which precedes the Fifth Symphony early humans knowledge of fire, as in Last season the Seattle Symphony on our program, mourns the deaths of Greek legend. Instead, Prometheus began a survey of Beethoven’s major innocent villagers in his native country, refines two statues he has brought to life, orchestral compositions, works that are and the reference to Beethoven’s educating them in music and dance, while cornerstones of the orchestral literature. composition seems an assurance that imparting morals, manners and feelings This project, which has encompassed justice and goodness must ultimately to them. Beethoven’s score for Vigano’s performances of all the composer’s prevail over inhumanity and evil. ballet comprised some 18 numbers, but symphonies and concertos, concludes only the overture has gained a secure with this week’s concerts. foothold in the concert repertory.

It seems fitting that the orchestra’s WHAT TO LISTEN FOR: This piece traversal of this important body of adopts the classic overture format of music leads, in the end, to the most an introduction in slow tempo followed famous piece in the orchestral literature, by a fast movement whose form and Beethoven’s Fifth Symphony. The style resemble the opening movement familiarity of this work, which extends of a symphony. Beethoven opens this to millions of people, including many introductory paragraph with a series of who have little other knowledge of stark chords whose searching harmonies symphonic music, stems from the four- propel the music to more melodic thoughts. note figure with which it begins, and There follows a solemn theme led by

encoreartsseattle.com 27 PROGRAM NOTES

the oboes and horns, but Beethoven create a festive sound that recalls the On May 27, 1942 Czech commandos barely finishes its presentation before fairground scenes in Stravinsky’s ballet ambushed a car carrying Reinhard moving directly into the Allegro that Petrushka. The movement builds to a Heydrich, a much-feared Nazi SS forms the main body of the piece. climactic fanfare. After a solo passage commander, as it drove through the for the featured instrument, the piano streets of Prague. Heydrich, whose Here the principal idea is a running sprints at breakneck speed to the close. suppression of resistance in occupied figure played by the violins. Beethoven Czechoslovakia had been particularly counters it with a more relaxed second Bartók commences the second movement brutal, died from his wounds a week later. subject introduced by the woodwinds. with a chorale-like melody intoned by In reprisal, the Nazis targeted Lidice, A short development fantasy leads to the strings, which heretofore have been a village 14 miles northwest of Prague. the expected reprise of both subjects, silent. Their music sounds austere, almost On June 10 German troops moved then a coda passage marked by swelling ethereal, in part because the score into the town. Men over the age of 15 volume and accelerating tempo. instructs the players to use mutes and were rounded up and shot; women and withhold vibrato. To this hymn, the piano children were taken to concentration Scored for pairs of woodwinds, horns and timpani give answer with music camps. The Germans then dynamited and trumpets; timpani; strings. that is, in its own way, equally austere. the town, reducing it to rubble. Suddenly, though, the music changes BÉLA BARTÓK tempo and character, breaking into a Far from concealing this atrocity, the Nazi swift scherzo replete with repeated- government publicized it as a warning Piano Concerto No. 2, Sz. 95, BB 101 note figures and frantic scales and to civilians under their rule. As news of tremolos. The frenetic motion continues the Lidice massacre spread, so did acts until cut off by a clarion note from the of protest and sympathy throughout BORN: March 25, 1881, in Nagyszentmiklós, trumpet, after which the hymn-like music much of the world. Streets, squares, Hungary resumes, with the piano’s repeated-note even whole towns in England, Mexico DIED: September 26, 1945, in New York figuration from the scherzo held over. and South America were renamed to WORK COMPOSED: 1930–31 commemorate Lidice. Edna St. Vincent WORLD PREMIERE: January 23, 1933, in The initial theme of the finale has about it Millay wrote a long verse elegy, The Frankfurt am Main. The composer played the a rough energy that sets the tone for what Murder of Lidice. A British film dramatized solo part, and Hans Rosbaud conducted. ensues. Soon we hear a recollection of the village’s destruction. And Bohuslav the melody from the opening movement. Martinů, the leading Czech composer Béla Bartók was one of the great During the remainder of the piece, of the mid-20th century, created one composers active during the first half of Bartók develops these two subjects in of his most eloquent musical works, the 20th century, and his creation of a tandem, with several episodes from the Památnik Lidicim, or Memorial to Lidice. thoroughly modern body of piano music first movement reprised in varied form. was one of his principal achievements. In doing so, he uses his full complement Martinů was, at this time, living in exile in In addition to many keyboard solos, of instruments for the first time. the United States. He had left his native Bartók left three concertos for piano and country two decades earlier, moving from orchestra. The second of these works, Scored for solo piano; 3 flutes, the Prague to Paris, where he remained until completed in 1931, unfolds in the traditional third doubling piccolo; 2 oboes 1940. He then made a narrow escape to concerto format of three movements, but and English horn; 2 clarinets and America, just ahead of Hitler’s armies. But the overall structure is more complex and bass clarinet; 3 bassoons, the third though separated from his homeland, the more original than this description implies. doubling contrabassoon; 4 horns; composer remained deeply attached to it, Its opening and closing movements are 3 trumpets; 3 trombones; tuba; and he had followed sorrowfully the news fast and lively, as we usually find in such timpani and percussion; strings. of its surrender to Hitler and subsequent compositions. The central movement occupation. Having himself grown up in a begins in slow tempo, again as we should BOHUSLAV MARTINŮ small Czech village, Martinů was especially expect, but has a scherzo-like section affected by the tragedy of Lidice. inserted as a contrasting central episode. Památnik Lidicim (“Memorial to The concerto’s three movements thereby Lidice”), H. 296 Cast in a single movement, Memorial produce a symmetrical fast–slow–fast– to Lidice is among the most moving of the many threnodies composed in slow–fast design that bespeaks Bartók’s BORN: December 8, 1890, in Polička, Bohemia fondness for formal palindromes. response to events of World War II. (now the Czech Republic) Though a somber tone prevails, the DIED: August 28, 1959, in Liestal, Switzerland WHAT TO LISTEN FOR: Bartók scored music offers hints of tenderness, hope WORK COMPOSED: 1943 the opening movement for piano with and perhaps even redemption. an orchestra of winds and percussion WORLD PREMIERE: October 28, 1943, in New only. The bright instrumentation, bustling York. Artur Rodzinski conducted the New York WHAT TO LISTEN FOR: The music begins textures and scale-wise melody over Philharmonic Orchestra. with a dark, grief-laden chord. Out of static harmonies we hear at the outset this emerge short, chant-like phrases for wind instruments. Martinů repeats

28 SEATTLESYMPHONY.ORG BERTRAND CHAMAYOU Piano

Bertrand Chamayou this gesture, but the chant-like phrases Beethoven provides a timely contrast has established himself now sound more strongly in the violins. to the turbulent spirit of the opening at the highest level on As the music develops, these lyrical movement with the Andante con moto that the international music utterances increasingly take on the follows. The third movement is another scene, performing in character of prayer-and-response, a matter. Here, the theme softly stated by venues such as the format used in old Czech church music. the low strings in the opening measures Théâtre des Champs Elysées, Lincoln Center Although echoes of the brooding initial seems ghostly and ominous, and its Classics Warner – Borggreve Marco Photo: chord punctuate it, the hymn-like music menacing aspect is confirmed moments and London’s Wigmore eventually attains a resounding climax. later by a disturbing reappearance of Hall. He has appeared at major festivals Just then, however, a piercing figure, the “fate” motif of the first movement. worldwide. Chamayou has made a number seemingly contorted pain, leaps from Later, Beethoven creates a moment of of highly successful recordings, including a the orchestra. Darkness threatens to extraordinary drama. The ghostly melody Naïve CD of music by César Franck, which overwhelm the music, but that event is freezes in mid-step as time and motion was awarded several accolades including forestalled as the famous four-note motif are suspended. Slowly, the theme is Gramophone’s Editor’s Choice. In 2011 of Beethoven’s Fifth Symphony rings out. taken and transformed measure by Chamayou celebrated Liszt’s 200th Martinů now revisits the opening of the measure until the music bursts into the anniversary with a recording of the piece but uses the chant melody to steer finale with a blaze of light and victory. complete Années de Pèlerinage — also for the composition to a serene conclusion. Naïve — which he performed in several The drama is not yet over, however. In venues throughout the world. The album Scored for 3 flutes; 2 oboes and English the middle of this fourth movement, we received rave reviews worldwide — horn; 3 clarinets; 2 bassoons; 4 horns; suddenly return to the “fate” motif and including Gramophone Choice. The only 2 trumpets; 3 trombones; tuba; timpani the ghostly atmosphere of the scherzo. artist to win France’s prestigious Victoires and percussion; harp; piano; strings. That stroke, so widely admired and de la Musique on four occasions, he has imitated by subsequent generations of an exclusive recording contract with Warner/Erato and was awarded the 2016 LUDWIG VAN BEETHOVEN composers, prepares a recapitulation not only of the movement’s themes ECHO Klassik for his recording of Ravel’s Symphony No. 5 in C minor, Op. 67 but also of the dramatic passage from complete works for solo piano. Bertrand darkness to light, from despair to joy, Chamayou was born in Toulouse; his which is the meaning of the finale and musical talent was quickly noted by pianist WORK COMPOSED: 1804–08 the goal of the entire symphony. Jean-François Heisser, who later became WORLD PREMIERE: December 22, 1808, in his professor at the Paris Conservatoire. Vienna. The composer conducted. Scored for 2 flutes and piccolo; 2 He completed his training with Maria oboes; 2 clarinets; 2 bassoons and Curcio in London. Beginning in about 1803, Beethoven contrabassoon; 2 horns; 2 trumpets; FROM THE ARTIST: struck out on what he described to a 3 trombones; timpani; strings. friend as “a new path,” one that led “The very first time I performed Bartók to a dynamic expansion of virtually all © 2017 Paul Schiavo 2 was actually under the baton of Pierre aspects of his composing: to weightier Boulez with the Orchestre de Paris in sonorities, bolder gestures, more thorough December 2011 and it was one of Boulez’s development of thematic ideas, a very last performances. We spent a whole greatly enlarged vocabulary of harmonic day discussing the score which was an possibilities and a heightened sense of unforgettable experience for me. The musical drama. This “new path” led at concert was a great and moving moment length to the Fifth Symphony, which the and I especially remember the unique composer completed in 1808, after four feeling of sharing the stage with an years of intermittent work. Significantly, the idol. When Ludovic Morlot and I met for celebrated four-note figure that opens the the first time, we immediately had a strong piece was present in his earliest sketches. connection with the same desire to do some challenging programmes. Bartók 2 WHAT TO LISTEN FOR: The symphony’s is a new challenge! My favorite moment is signature motif, which Beethoven famously probably the kind of duo between piano associated with “fate,” dominates the and timpani in the second movement. Truly first movement, its brevity and rhythmic a deep and powerful moment.” vigor accounting in no small way for the sense of agitation and momentum that prevails here. The pace relaxes only briefly for the lyrical second theme, and for the unusual oboe cadenza that embellishes the reprise, late in the movement, of the opening paragraph.

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Friday, March 24, 2017, at 7pm BEETHOVEN UNTUXED UNTUXED SERIES

Ludovic Morlot, conductor Jonathan Green, host Seattle Symphony

LUDWIG VAN BEETHOVEN Overture to Die Geschöpfe des Prometheus 5’ (“The Creatures of Prometheus”), Op. 43

LUDWIG VAN BEETHOVEN Symphony No. 5 in C minor, Op. 67 32’ Allegro con brio Andante con moto Scherzo: Allegro— Allegro

Program notes may be found on pages 27–29.

Audience Development supported by The Wallace Foundation.

30 SEATTLESYMPHONY.ORG ARNIE ROTH Conductor Sunday, March 26, 2017, at 4pm FORTE: A classically trained violinist, conductor, composer, DISTANT WORLDS: producer and Grammy Award-winning artist, MUSIC FROM Arnie Roth performs across a wide array of FINAL FANTASY musical genres. Roth has performed with a Arnie Roth, conductor host of artists, including Andrea Bocelli Charlotte Church, Josh Groban, Il Divo, Susan Calloway, vocals + The Irish Tenors, Jewel, Branford Marsalis, Seattle Pro Musica * Diana Ross, Patrick Stewart and The Three Seattle Symphony Tenors. He is also a long-time member of the Grammy Award-winning group NOBUO UEMATSU/ MASASHI HAMAUZU Distant Worlds: Music from FINAL FANTASY Mannheim Steamroller.

NOBUO UEMATSU FINAL FANTASY VII: Opening—Bombing Mission CONDUCTING HIGHLIGHTS: Orchestras NOBUO UEMATSU FINAL FANTASY Series: Victory Theme * that Roth has conducted include the Atlanta Symphony, BBC Symphony, NOBUO UEMATSU FINAL FANTASY XIV: Dragon Song + * Colorado Symphony, Dallas Symphony, NOBUO UEMATSU FINAL FANTASY III: DS Opening Hollywood Bowl Philharmonic, Houston MASASHI HAMAUZU FINAL FANTASY XIII: Blinded By Light Symphony, Joffrey Ballet Orchestra, NOBUO UEMATSU FINAL FANTASY XV: Apocalypsis Noctis * London Symphony Orchestra, Los Angeles NOBUO UEMATSU FINAL FANTASY VI: Phantom Forest Philharmonic, Ravinia Festival Orchestra, NOBUO UEMATSU FINAL FANTASY IX: Festival of the Hunt San Diego Symphony, San Francisco Symphony, Sydney Symphony, Tokyo NOBUO UEMATSU FINAL FANTASY VIII: Eyes On Me + Philharmonic, WDR Rundfunkorchester NOBUO UEMATSU FINAL FANTASY Series: Chocobo Medley 2012 * Köln and Winnipeg Symphony. Roth / MASASHI HAMAUZU brought critical acclaim to the Chicagoland Pops Orchestra as music director and INTERMISSION principal conductor showcasing artists including the Beach Boys, Judy Collins, Linda Eder, Michael Feinstein, Art NOBUO UEMATSU FINAL FANTASY VIII: The Man with the Garfunkel, Wynonna Judd, Johnny Mathis Machine Gun and Linda Ronstadt. NOBUO UEMATSU FINAL FANTASY X: Hymn of the Fayth * NOBUO UEMATSU FINAL FANTASY X: Zanarkand GAMING MUSIC: Roth was the music NOBUO UEMATSU FINAL FANTASY VII: Cosmo Canyon director and conductor of the national NOBUO UEMATSU FINAL FANTASY VIII: Fisherman’s Horizon * concert tour “Dear Friends: music from FINAL FANTASY.” In 2006 Roth NOBUO UEMATSU FINAL FANTASY XI: Ronfaure conducted the “VOICES: music from FINAL NOBUO UEMATSU FINAL FANTASY IX: Not Alone FANTASY” concert in Tokyo with the NOBUO UEMATSU FINAL FANTASY XIV: Answers + * Tokyo Philharmonic. He then became the NOBUO UEMATSU FINAL FANTASY Series: Main Theme principal conductor and music director of PLAY! A Video Game Symphony featuring music from blockbuster video games such as Battlefield 1942™, Elder Scrolls III: Morrowind™, FINAL FANTASY®, Halo and World of Warcraft®. As both producer and music director, Roth premiered “Distant Worlds: music from FINAL FANTASY” in December 2007 with the Royal Stockholm Philharmonic in Sweden. The release of the recording of “Distant Worlds: music from FINAL FANTASY” coincided with the start of the “Distant Worlds” 2008 world- tour and continues to thrill audiences Please turn off all electronic devices and refrain from taking photos or video. Performance ©2017 Seattle Symphony. Copying of any performance by camera, audio or video recording around the world with upcoming equipment, and any other use of such copying devices during a performance is prohibited. performances in Asia, Australia, Europe and North America.

encoreartsseattle.com 31 SUSAN CALLOWAY Vocals

Susan Calloway is a 20 SEASON 16/17 classically trained, award-winning singer, pianist and songwriter THE SEATTLE SYMPHONY from the U.S. Her powerful voice brings PLAYS RACHMANINOV! an emotional and heart- felt perspective to “Music is enough for a APRIL 13 & 15 FINAL FANTASY’s vocal favorites. Calloway’s first video game lifetime — but a lifetime is not RACHMANINOV feature for FINAL FANTASY came a few enough for music.” RHAPSODY ON A years ago when composer Nobuo – Sergey Rachmaninov THEME OF PAGANINI Uematsu asked her to sing his new theme song for FINAL FANTASY XIV, “Answers,” Olari Elts, conductor making her a permanent part of the Stephen Hough, piano franchise. In 2015 Calloway performed a ERKKI-SVEN TÜÜR: De Profundis (U.S. Premiere) second theme song for FINAL FANTASY RACHMANINOV: Rhapsody on a Theme of Paganini XIV, “Dragonsong,” which has also RACHMANINOV: Symphonic Dances received high praise from fans of the “It’s hard not to be a little awestruck by the series. Now a familiar and celebrated breadth of Stephen Hough’s passions, to addition to the game franchise, Calloway say nothing of his talents. [He] is simply one has taken to the stage as the featured of the most interesting musicians around” soloist for the Distant Worlds: Music from (Boston Globe). Stephen Hough joins the FINAL FANTASY World Tour, performing THOMAS Seattle Symphony for Rachmaninov’s fiendish sold out performances in cities all over the DAUSGAARD old melody, Rhapsody on a Theme of world. Calloway is also known for her Paganini. inspirational blogs and posts, a fitting MARCH 30–APRIL 1 Stephen Hough’s performances are generously DAUSGAARD underwritten by Paul Leach and Susan Winokur. extension of her passionate and catchy songwriting. With over one million website Media Sponsor: CONDUCTS visits and thousands of followers, she is RACHMANINOV currently in the studio working on a second CD with Grammy Award-winning Thomas Dausgaard, conductor producer, Gerard Smerek, best known for Alexander Melnikov, piano his work with Aretha Franklin, Bob Seger, Cappella Romana, vocal ensemble One Republic and Natalie Merchant. Russian Orthodox Chants RACHMANINOV: Piano Concerto No. 1 FROM THE ARTIST: RACHMANINOV: Symphony No. 2 “What a great honor it has been to work No one steals your heart like Rachmaninov! STEPHEN with Square Enix, Nobuo Uematsu and From the dazzling brilliance of the First Piano HOUGH Arnie Roth. The music is so beautiful, it Concerto to the seductive beauty of the makes my job as a singer very easy. For Second Symphony this is a night devoted APRIL 14 me, the best part has been the warm to the ultimate Russian Romantic and his response I have received from FINAL influences. RACHMANINOV FANTASY fans. I am so honored to be Alexander Melnikov’s performances are generously UNTUXED a part of this game franchise and these underwritten by Ilene and Woody Hertzog. Olari Elts, conductor awesome live concerts! It has been an Media Sponsor: Stephen Hough, piano amazing adventure. Thank you for letting RACHMANINOV: Rhapsody on a Theme of Paganini RACHMANINOV: Symphonic Dances me be a part of your world. We could never be doing this concert tour without This shorter, no-intermission, all your faithful support over these past years. Rachmaninov concert presents a low-stress way to begin your weekend. From the bottom of my heart, thank you!” Stephen Hough’s performances are generously underwritten by Paul Leach and Susan Winokur.

Audience Development supported by

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32 SEATTLESYMPHONY.ORG SEATTLE PRO MUSICA Monday, March 27, 2017, at 7:30pm KING’S COLLEGE CHOIR SPECIAL PERFORMANCES The critically acclaimed Seattle Pro Musica has received numerous national awards, Stephen Cleobury, Director of Music including the Margaret Hillis Award for Choral Excellence and the ASCAP/Chorus Choir of King’s College, Cambridge America Award. American Record Guide ranks the group “among America’s very WILLIAM BYRD “Rorate coeli” (“Drop down ye heavens”) 5’ best choirs.” Seattle Pro Musica has JOHN MUNDY “Sing joyfully” 6’ performed with such artists as Andrea ORLANDO GIBBONS “This is the record of John” 5’ Bocelli, Jane Eaglen and Vinson Cole, and WILLIAM BYRD “Laudibus in sanctis” 6’ co-hosted the 2013 National Conference (“Celebrate the Lord most high”) of Chorus America in Seattle. In 2014 they Final appeared on the Grammy Award-winning LOUIS VIERNE from Symphony No. 3 6’ in F-sharp minor, Op. 28 album Winds of Samsara. RICHARD GOWERS, ORGAN SOPRANO TENOR OLIVIER MESSIAEN “O sacrum convivium” (“O sacred banquet!”) 4’ Heidi Kim Jacob Buys GABRIEL FAURÉ “Cantique de Jean Racine” 7’ Teresa Nemeth David Horton (“Canticle of Jean Racine”), Op. 11 Ada Ng Jim Howeth MAURICE DURUFLÉ “Ubi caritas et amor” 2’ Katie Skovholt Brian Minnick (“Where charity and love are”) Jan Strand Will Myers FRANCIS POULENC “Hodie Christus natus est” 2’ Jennylynn Vidas Danny Szydlo (“Today Christ is born”) ALTO BASS Marissa Burkey Keith Axelsen INTERMISSION Jacque Deerr-Lord Ryan Gao Allison Freel Wes Kim HENRY PURCELL “Jehovah, quam multi sunt hostes mei” 7’ Isabelle Phan Peter Lifland (“Lord, how are they increased that Liz Reed-Hawk Lee Maneman trouble me”), Z.135 Karen Segar Rob Scherzer GIOVANNI GABRIELI “Exultavit cor meum in Domino” 5’ (“My heart rejoiceth in the Lord”), C. 53 KAREN P. THOMAS GIOVANNI GABRIELI “O magnum mysterium” 4’ Artistic Director & Conductor (“O great mystery”), Ch. 3 of Seattle Pro Musica HENRY PURCELL “I was glad” 4’ Karen P. Thomas, KENNETH LEIGHTON Paean 6’ Artistic Director and HENRY WEBSDALE, ORGAN Conductor of Seattle EDWARD BAIRSTOW “Blessed city, heavenly Salem” 8’ Pro Musica, has CHARLES VILLIERS STANFORD “O for a closer walk with God” 4’ conducted at /lyrics William Cowper international festivals in Europe and North PERCY WHITLOCK “Jesu, grant me this, I pray” 5’ America, including /text adapted Berkshire Choral Sir Henry Williams Baker International and the Bergen International HERBERT HOWELLS “Te Deum (Collegium Regale)” 9’ Festival. Named the Washington State “Outstanding Choral Director” for 2012, she has been lauded for her “charismatic... Choir of King’s College, Cambridge’s performance is generously underwritten by magnetic podium presence.” A prize- Dr. Pierre and Mrs. Felice Loebel through the Seattle Symphony’s Guest Artists Circle. winning composer, she has received awards from the National Endowment for Please note that the timings provided for this concert are approximate. the Arts, American Academy and Institute Please turn off all electronic devices and refrain from taking photos or video. of Arts and Letters, and ASCAP, among Performance ©2017 Seattle Symphony. Copying of any performance by camera, audio or video recording others. equipment, and any other use of such copying devices during a performance is prohibited.

encoreartsseattle.com 33 PROGRAM NOTES

William Byrd’s “full” anthems are down the scale by step at the words the trebles briefly breaking through in the presented here alongside examples of “make straight the way of the Lord.” “alleluia.” It closes with one of Messaien’s the new “verse” anthem. In the former, favorite chords, the added sixth. the choir sings unaccompanied, whilst WILLIAM BYRD in the latter, sections for solo voice are “Laudibus in sanctis” (“Celebrate the GABRIEL FAURÉ (1845, contrasted with those for the full choir, Pamiers–1924, Paris) with accompaniment for viols or organ. Lord most high”) (1591) This grand motet, from Cantiones “Cantique de Jean Racine” (“Canticle of WILLIAM BYRD (1542/43, Sacrae, sets a paraphrase of Psalm Jean Racine”), Op. 11 (1864) London–1623, Stondon Massey) 150. The only places these pieces Racine published this paraphrase of could have been performed liturgically the hymn Consors paterni luminis in “Rorate coeli” (“Drop down ye were Oxbridge chapels and the Chapel 1688; the 19-year-old Fauré’s charming heavens”) Royal; Byrd described them as “songs setting won First Prize in a competition “Rorate coeli,” proper to the season of which, from their subject-matter, are at the École Niedermeyer de Paris. The Advent, is in the form of an Introit (which called sacred,” and he may have beguiling melody is touched with delicious would have been sung as the priest intended them for country houses with harmonic turns. The accompaniment processed to the altar at the beginning musically literate Catholic families. presents, Schubert-like, a continuous of Mass). In this genre, an antiphon, stream of triplets. The music rises (“Rorate”), is followed by a psalm verse, in intensity in the central verse and (“Benedixisti…”) and the “Gloria Patri…,” closes in a mood of intense calm. following which the antiphon is repeated. LOUIS VIERNE (1870, Poitiers–1937, As is the case in this work, which has Paris) MAURICE DURUFLÉ (1902, a five-part texture, the verse is usually Final from Symphony No. 3 in Louviers–1986, Louveciennes) written for reduced voices, here three. F-sharp minor Op. 28 (final – 1911) “Ubi caritas et amor” (“Where charity and love are”) (1960) JOHN MUNDY (1555–1630, Windsor) Vierne’s success as a composer and organist was achieved in the face of “Sing joyfully” Duruflé was steeped in liturgical music blindness. Dedicated to his younger from his days as a chorister at Rouen Mundy was organist at Eton and at contemporary Marcel Dupré, this work Cathedral. Unlike Messiaen, he was St. George’s Chapel, Windsor, and in stands at the centre of the French no innovator. His music looked back to 1585 became organist at Westminster symphonic organ tradition. Vie rne was Fauré, Debussy, Ravel and Dukas and Abbey. Like Byrd he wrote works in both organist at Notre Dame for 37 years, was extensively based on Gregorian Latin and English. This appropriately where he played an organ rebuilt by chant. Of his Requiem he wrote: buoyant setting of words from Psalm 81 Aristide Cavaillé-Coll, whose pioneering features a bass soloist. The composer technical and aesthetic advances in organ I have attempted to penetrate to the particularly enjoys giving expression building inspired composers during the essence of Gregorian style and have tried to the sounding of the trumpet. second half of 19th century. Vierne died to reconcile, as far as possible, the very in the organ loft whilst giving a recital flexible Gregorian rhythms as established ORLANDO GIBBONS (1583–1625, there, Maurice Duruflé at his side. by the Benedictines of Solesmes with Canterbury) the exigencies of modern notation. “This is the record of John” Thus he approaches the Quatre The four composers in this group Gibbons was a King’s chorister when motets, which set liturgical texts: Ubi enriched French choral repertoire in his elder brother was Master of the caritas is sung at Mass on Maundy the late 19th and early 20th centuries. Choristers, later studying music at the Thursday, commemorating Christ Duruflé and Messiaen were influenced by college. This setting of words from the washing his disciples’ feet. first chapter of St. John’s Gospel was the renaissance of interest in Gregorian chant, led by the monks at Solesmes. commissioned by William (later Archbishop) FRANCIS POULENC (1899, Laud, when he was Master of St. John’s Paris–1963, Paris) College, Oxford (dedicated to John the OLIVIER MESSIAEN (1908, Baptist). By the 1630s, manuscript copies Avignon–1992, Paris) “Hodie Christus natus est” (“Today of this verse anthem could be found in Christ is born”) (1951–52) “O sacrum convivium” (“O sacred cathedral libraries across England. banquet!”) (1937) Poulenc was brought up a Catholic by a father whom he described as “profoundly Here the countertenor carries the solo This meditation on the Blessed Sacrament religious, but in a very liberal way.” This part and the composer, renowned for his is the only piece Messiaen wrote with a enabled Poulenc to reconcile his religion great sensitivity to the English language, strictly liturgical text. A slow-moving piece with his homosexuality and might explain reacts imaginatively to the text. For for unaccompanied choir, it draws on the why his sacred and secular writing shared example, the melody moves up and distinctive harmonies of Messiaen’s early the same luscious harmonic language. style. The texture is basically homophonic,

34 SEATTLESYMPHONY.ORG These motets contrast with the more Mary — the Magnificat. This is a full austere Quatre motets pour un temps de anthem in the Renaissance style in which The early 19th century saw the gradual pénitence. This, the fourth motet, displays successive phrases in the text are each introduction of “hymn-anthems,” an exuberance typical of this composer. given a particular “point of imitation.” settings of strophic hymns, rather than biblical passages. Initially regarded as GIOVANNI GABRIELI an encroachment of dissenting practices Purcell wrote works for the theater “O magnum mysterium” (“O great (Wesley being an early exponent), the and other secular music, but was mystery”), Ch. 3 (1615) genre became increasingly accepted, also involved in the revival of the St. Mark’s, Venice, with its various locations even within the Oxford Movement Anglican choral tradition following the for musical ensembles, provided Gabrieli (especially when the texts were based Commonwealth. Gabrieli’s music, from with opportunities to write for “opposing” on medieval Latin originals). Late an earlier period, complements that of groups of singers and players. This Victorian congregations, who enjoyed Purcell, exhibiting many of the same piece, set for two contrasting four-part hearing a familiar tune, loved them. The features, including the basso continuo choirs, is typical. In this period, some concert concludes with the Te Deum and passages in triple time. vocal lines were taken by instruments. which Howells wrote for King’s. Today the full choir sings the first choir HENRY PURCELL (1659, part, while a countertenor sings the EDWARD BAIRSTOW (1874, Westminster–1695, Westminster) top part of the second choir, the other Huddersfield–1946, York) voices being assigned to the organ. “Jehovah, quam multi sunt hostes mei” “Blessed city, heavenly Salem” (1914) (“Lord, how are they increased that trouble me”), Z.135 (1682) HENRY PURCELL Bairstow became organist at York Minster when T. Tertius Noble left to “I was glad” (1685) This dramatic setting of Psalm 3 was become the first Director of Music of possibly intended for use in the private Charles’ brother James succeeded to the St. Thomas 5th Avenue, NYC. His music Catholic chapel of Charles II’s queen, throne in 1685. Purcell’s contribution to exhibits a strong sense of the dramatic, Catherine of Braganza. The use of Latin his coronation was this exuberant setting underpinned by a colorful harmonic at this time did not necessarily indicate of Psalm 122. Francis Sandford’s account palette. “Blessed city” takes its text and a particular religious persuasion. Latin of the coronation was published the tune from the 9th century processional was appreciated by listeners as varied as year before James’ deposition and flight hymn, “Urbs beata Jerusalem,” in a Pepys and Cromwell. It was also a way from England, in the wake of the arrival version produced in 1851 by the Anglican of courting an international audience. of William and Mary (James’ daughter) scholar and hymn-writer, J.M. Neale. who shared the throne from 1688. The text is associated with King David’s CHARLES VILLIERS STANFORD flight from Absalom. Noteworthy is the Sandford’s work identifies the musicians (1852, Dublin–1924, London) expressive section, “I laid me down who took part and the positioning of the and slept,” and the dramatic bass anthems. “I was glad” was sung by the “O for a closer walk with God” (1910) solo in which the breaking of teeth choirs of Westminster and the Chapel Stanford was a significant figure in late is graphically represented. The work Royal as they entered the Abbey ahead 19th century Cambridge. Organist of Trinity ends with a sunny triple time section. of the King and Queen. With its many College whilst yet an undergraduate, he With its succession of contrasted changes of metre, it cannot have been the was Professor of Music by the age 35. sections, it is almost a mini-cantata. easiest of pieces to sing in procession. In 1909 he wrote “Six Bible Songs” for The late Sir David Willcocks had a solo voice and organ, followed in 1910 particular love of the passage “I laid me by “Six Hymns” for choir and organ, down and slept” and the Choir sang it at his KENNETH LEIGHTON (1929, based on existing hymn tunes; he memorial concert on St. Cecelia’s day 2015. Wakefield–1988, Edinburgh) intended each hymn to be sung after Paean (1967) one of the songs. “O for a closer walk” GIOVANNI GABRIELI (1557, was to follow “A Song of Wisdom.” Venice–1612, Venice) First performed by former King’s organ scholar Simon Preston, this song of “Exultavit cor meum in Domino” praise was commissioned to celebrate The anthem is based on the tune (“My heart rejoiceth in the Lord”), the 40th anniversary of the Organ Club. “Caithness” from the Scottish metrical C. 53 (1615) A short declamatory section leads to psalter (1635). The words are by William Cowper, who, with John Newton (author The words of this anthem, published the main Allegro Marziole. Contrasting of “Amazing Grace”) produced a book in Gabrieli’s second book of “sacred motifs are introduced at un poco comprising 350 hymns. His text “Walking symphonies,” are taken from 1 Samuel piu mosso, and are all combined. A with God” is inspired by Genesis 5:24, 2, Hannah’s song of thankfulness for recapitulation of the “marziale” theme “And Enoch walked with God.” the birth of the child for which she had at a slower tempo proceeds to a final prayed, which prefigure the Song of section based on the opening ideas.

encoreartsseattle.com 35 PROGRAM NOTES continued A GROWING GARDEN THAT WILL CHANGE THE WORLD

cOMING SPRING 2017 PERCY WHITLOCK (1903, Chatham, Kent–1946, Bournemouth) “Jesu, grant me this, I pray” (1927) This dynamic, one-woman show stars Sonja Parks portraying This hymn-anthem, unusual in that a community of immigrants it is penitential, unaccompanied whose lives are forever changed and in a minor key, was written for by one small seedling. the choir of Rochester Cathedral, Kent, where Whitlock was assistant organist from 1921–30. The words, which appear in Hymns Ancient and Modern (1861), are a translation by Henry Baker of the 17th century Latin hymn, “Dignare me, O Jesu, rogo te.” Presents HERBERT HOWELLS (1892, Lydney, Gloucestershire–1983, Putney) “Te Deum (Collegium Regale)” (1944) tICKETS ON SALE NOW! VISIT SCT.ORG OR CALL 206.441.3322 The “Coll. Reg.” canticles which Howells wrote for King’s in 1944 and 1945, March 23rd - april 16th, 2017 led to numerous commissions from cathedrals and collegiate chapels for “custom-built” settings. By the end of his life Howells had written canticles for sixteen English cathedrals and collegiate chapels, as well as settings OSKA for St. John the Divine, New York, 1322 Fifth Avenue Dallas and a Te Deum for Washington Seattle National Cathedral to complement the 206 209 5401 mass setting he had composed for the Shop online dedication of that building and the piece seattle.oska.com he had written in 1964 to be sung at the memorial service of John F. Kennedy, “Take him earth for cherishing.”

Beverly Hills / Chicago / Minneapolis / Healdsburg / Mill Valley New York / Pasadena / Seattle / Calgary / Vancouver / Sydney London / Paris / Munich / Amsterdam / Stockholm

36 SEATTLESYMPHONY.ORG STEPHEN CLEOBURY CHOIR OF KING’S COLLEGE, CAMBRIDGE Director of Music

Stephen Cleobury has been Director of Music at King’s College, Cambridge for over 30 years. His work there has brought him into fruitful relationships with many leading Photo: Paul Grover – King’s College, Cambridge – King’s Grover Paul Photo: orchestras and soloists, among them the Academy of Ancient Music, the BBC Concert Orchestra, the Britten Sinfonia, the Orchestra of the Age of Enlightenment and the Philharmonia. He complements and refreshes his work in Cambridge through the many other College, Cambridge Leighton – King’s Kevin Photo: musical activities in which he engages. At The Choir of King’s College, Cambridge is one of the world’s best known choral groups. King’s, he has sought to enhance the Every Christmas Eve millions of people worldwide tune into A Festival of Nine Lessons reputation of the world-famous Choir, and Carols, a service broadcast by the BBC since 1928, making it the longest established considerably broadening its repertoire, annual broadcast in history. The same service has been broadcast in the U.S. by American commissioning new music and developing Public Media since 1982. Additionally, Carols from King’s, a televised Christmas service its activities in broadcasting, recording and also broadcast on Christmas Eve, celebrated its 60th anniversary in 2014. The Choir’s touring. He introduced the annual festival, international fame and reputation, enhanced by an extensive recording catalogue, has Easter at King’s, from which the BBC led to invitations to perform around the world. Last season culminated in a live televised regularly broadcasts, and, in its wake, a performance of Fauré’s Requiem at the BBC Proms and performances in Hong Kong and series of high-profile performances China where the choir opened the NCPA Beijing Chorus Festival. Other highlights included throughout the year, Concerts at King’s. performances at The Royal Concertgebouw in Amsterdam, Hatfield House Chamber Music From 1995 to 2007 he was Chief Festival and a return to Sweden, marking the 80th anniversary of the Choir’s first ever Conductor of the BBC Singers and is now international tour. This season the Choir gave Christmas concerts in Manchester, Dublin Conductor Laureate. Also a celebrated and London, tours to Canada, the U.S. and Mexico in the spring and performs at European organ recitalist and recording artist, festivals in the summer. The Choir continues to collaborate with ensembles including the Cleobury has performed worldwide. Academy of Ancient Music, Britten Sinfonia, the Orchestra of the Age of Enlightenment and the Philharmonia Orchestra. FROM THE ARTIST: “I have always enjoyed visiting Seattle. I Choristers Choral Scholars Organ Scholars conducted Bach, Purcell and Vivaldi and Thomas Alban Alto Richard Gowers played Messiaen last year, and am very Jack Bowley Rupert Scarratt Henry Websdale excited about introducing King’s Choir to Henry Butlin Isaac Jarratt-Barnham this lovely city, to the excellent Benaroya Samuel Cates George Gibbon Director of Music Hall and its fine organ. I am delighted Philip Curtis Daniel Henderson Stephen Cleobury that our choristers will meet the boys Alexander Finlayson-Brown of the Northwest Boychoir, with whom I Lev Godar Tenor School Staff have twice had the pleasure of working. Joseph Hall Harry Bradford Jill Etheridge Our programme begins in 16th century Elliot Hasler Jack Goulder Andi Williams England. We move to recent French music. George Hill James Micklethwaite Ed Sykes The English Purcell is juxtaposed with Alfred Hopkins Christopher Nehaul the older Italian, Gabrieli. Finally comes Abrial Jerram a group of pieces from the late 19th and Marcus McDevitt Bass 20th century English tradition, including Joshua O’Neill James Jenkins the magnificent Te“ Deum.” Many of the Sung-Joon Park Sebastian Johns pieces I sang myself as a chorister.” George Sheldon Stephen Whitford Julius Sirringhaus Charlie Baigent Samuel Trueman Zac Moxon Trojan Nakade Barney Wolstenholme

Intermusica Artists’ Management Limited Stephen Lumsden – Managing Director Peter Ansell – Director, Head of International Touring Kate Caro – Senior Manager, Film and Multimedia in Performance Erin McNamara – Senior Coordinator, International Touring Kirsten Mackay – Coordinator, International Touring

encoreartsseattle.com 37 Thursday, March 30, 2017, at 7:30pm PROGRAM NOTES Friday, March 31, 2017, at 12 noon Saturday, April 1, 2017, at 8pm Rachmaninov and Russian Tradition DAUSGAARD Rachmaninov’s orchestral works have long enjoyed exceptional popularity CONDUCTS with audiences around the globe. This is hardly surprising, for they entail two RACHMANINOV very appealing qualities. One is dazzling instrumental virtuosity, particularly in those compositions in which the piano plays a starring role. Rachmaninov was Thomas Dausgaard, conductor himself a superb pianist, an exemplar Alexander Melnikov, piano of the Russian school of keyboard pedagogy that has produced many Cappella Romana, Alexander Lingas, Music Director spectacular performers. In his four Seattle Symphony concertos and the concerto-like Rhapsody on a Theme of Paganini, all Russian Orthodox Chant: “Prokeimenon” 3’ written with his own abilities in mind, for Saturday Evening— Rachmaninov lets loose what can only CAPPELLA ROMANA be described as keyboard fireworks, especially at climactic moments. SERGEY RACHMANINOV Piano Concerto No. 1 in F-sharp minor, Op. 1 27’ Vivace No less important to Rachmaninov’s Andante enduring favor with audiences is the Allegro vivace spirit of Russian Romanticism his ALEXANDER MELNIKOV, PIANO music embodies. Soaring melodies, sumptuous textures and unabashed INTERMISSION emotional expression are hallmarks of Rachmaninov’s compositional style. Russian Orthodox Chant: Vesper Hymn: 3’ “Joyful light”— Yet there is another aspect of CAPPELLA ROMANA Rachmaninov’s music that often goes unremarked: its subtle resonance with SERGEY RACHMANINOV Symphony No. 2 in E minor, Op. 27 60’ the oldest form of Russian music, Largo—Allegro moderato liturgical chant. Rachmaninov was raised Allegro molto in the Russian Orthodox Church, and his Adagio boyhood memories of traditional church Allegro vivace chants remained with him throughout his life. He used chant melodies explicitly in several of his works, notably his First Symphony, which derived some Alexander Melnikov’s performances are generously underwritten by Ilene and Elwood Hertzog through the Seattle Symphony’s Guest Artists Circle. of its themes from chants, and his one major choral work, Vespers.

But even when not based directly on chant melodies, many passages in Rachmaninov’s compositions seem inhabited by the spirit of Russian Orthodox chant. The composer’s melodic lines often follow chant-like contours, and they intimate a soulful melancholy not unlike that of Russian ecclesiastic music. These connections are more readily heard than described. Accordingly, our concert includes a

Please note that the timings provided for this concert are approximate. selection of Russian Orthodox chants, Please turn off all electronic devices and refrain from taking photos or video. performed by a choir much admired for Performance ©2017 Seattle Symphony. Copying of any performance by camera, audio or video recording its singing of such music. equipment, and any other use of such copying devices during a performance is prohibited.

38 SEATTLESYMPHONY.ORG PROGRAM NOTES

TRADITIONAL whose ascetic character is both beautiful “The outbreak of the Bolshevist upheaval and spiritually evocative. For as the still found me in my old flat in Moscow. I Russian Orthodox Chants theologian Sergey Bulgakov notes, had started to rewrite my First Concerto “Russians desire to sanctify the world “Russian [Orthodox] asceticism aims at for piano, which I intended to play again, around them, to bring everything manifesting God’s Kingdom on earth.” and was so engrossed with my work that nearer to God ... They want to I did not notice what went on around unite heaven and earth.” SERGEY RACHMANINOV me. ... I sat at the writing table or the piano all day without troubling about the So wrote Anton Kartashev, a scholar of Piano Concerto No. 1 in F-sharp rattle of machine guns and rifle shots.” Russian church history. He was not referring minor, Op. 1 specifically to Russian ecclesiastical Rachmaninov was by this time, of course, music, but his words describe the ideal a far more experienced composer than BORN: April 1, 1873, in Semyonovo, near of such music. Music serves the same the boy who had conceived the F-sharp purpose as ritual and decorative art in Novgorod, Russia minor Concerto in 1891. Among other the Russian Orthodox Church: to bring DIED: March 28, 1943, in Beverly Hills, achievements, he now had two other worshipers more closely in touch with God California enormously popular piano concertos to and thereby “unite heaven and earth.” WORK COMPOSED: 1890–91, revised 1917 his credit, and his handling of large-scale WORLD PREMIERE: Original version: March musical form, instrumentation and other The heart of Russian Orthodox Church 17, 1892, in Moscow, the composer playing matters was entirely more assured. Not music is the large body of chants and chant the solo part and V.I. Safonov conducting the surprisingly, his work of 1917 produced settings that have accumulated since the orchestra of the Moscow Conservatory. not merely a tidying up of the original middle ages. Their importance can hardly REVISED VERSION: January 29, 1919, in New score but a substantially new one. Little be overstated. Russian Orthodoxy permits more than the themes of the concerto’s York. The composer again was the soloist, and no instruments, only voices, to be used in first version remained in the second. Modeste Altschuler conducted the Russian its services. Choral music has therefore retained a primacy it long ago relinquished Symphony Society Orchestra. The new composition pleased in many Western churches, as the organ Rachmaninov. He performed it and other instruments were embraced Although Rachmaninov’s Piano Concerto frequently on concert programs in as adjuncts to worship. Moreover, while in F-sharp minor bears the designation Europe and America (he left Russia new stylistic elements imported from the “Opus 1” and was composed and first permanently in December 1917, West (primarily Italy) made their way into performed while its author was still a shortly after completing his overhaul Russian ecclesiastic music during the 18th student at the Moscow Conservatory, of the concerto), and subsequently century, they never caught on strongly and the music as we know it today is the recorded it. Nevertheless, the First later were suppressed. As a result, even product of a mature artist. Rachmaninov Piano Concerto never attained the latter-day church composers in Russia completed this work in 1891, at age popularity which the Second and Third have maintained a strong connection with 18, and played the solo part in its concertos have enjoyed, and it remains the sound and spirit of traditional chants. premiere at the Conservatory in March the least known of the composer’s of the following year. The concerto was works for piano and orchestra. Despite the great quantity of such music, received well and soon was published. a couple of general observations can be WHAT TO LISTEN FOR: The short ventured about Russian Orthodox chant In his memoirs, Rachmaninov recalled introductory passage that opens the settings. One is that they feature very creating the work: “I wrote with great concerto could hardly be more dramatic: slow harmonic movement. In many older ease, and composition did not cost me bold fanfares in the brass are answered settings, and some more recent ones, the the slightest effort: I composed as I spoke, by cascading figures from the soloist. traditional chant melody is intoned against and often my hand could hardly follow the This leads directly to the first movement’s a counter-melody that moves at very swift flight of my musical ideas.” But he principal theme, a melody whose soulful reduced speed across just a few notes. soon lost faith in the concerto. Engaged lyricism is so typical of Rachmaninov’s Even in the less constricted settings of for a concert tour to England in 1898, he style. A quickly flowing transition later composers, prolonged tones are the declined a request to perform the piece, passage brings us to the second subject, rule, especially in the accompaniment to declaring it unworthy and offering to which is lighter in character, and then the chant melody. The other salient feature write another in its place. The composer a brief but stormy closing idea. The of Russian Orthodox chant is its minor- certainly knew that much about his early development and eventual reprise of mode quality. While tradition sanctions concerto was attractive and he probably these thematic materials culminates in a several scales for ecclesiastical music, all never thought of abandoning it altogether. resounding cadenza, an unaccompanied of them have the dark tonal complexion we But nearly 20 years passed before he solo, for the featured instrument, after associate with the Western minor scales. set about correcting what he perceived which a brilliant coda passage quickly as its defects. In 1917, with Russia in the brings the movement to a close. Both its slow harmonic motion and throes of its epochal Revolution, he its minor-mode coloring lend Russian began to revise the music. His memoirs In contrast to the energy of this opening, Orthodox chant a deep austerity, one give a picture of serene detachment: the Andante second movement casts

encoreartsseattle.com 39 PROGRAM NOTES continued

the piano as a poetic dreamer. The nothing, and only after undertaking a motto’s tail of descending eighth-notes. opening measures find it seemingly lost course of therapeutic hypnosis, in 1900, in meditation, and the melodies it soon did he regain the confidence to begin Rachmaninov replaces the melancholy sets forth convey a sense of romantic writing music again. Still, he pointedly tone of the first movement with a reverie and languor. A broad tri-part avoided symphonic composition and distinctively Russian vigor in the formal plan governs the finale, which continued to subordinate his creative ensuing scherzo. Here a brash opening opens with a scherzando section marked work to his career as a performer. gives way to a more lyrical second by virtuoso keyboard writing. This gives subject and a lively, rhythmic central way at length to a song-like central By 1906, however, the life of a part-time episode, or “Trio.” Rachmaninov plays episode, but Rachmaninov returns to composer was no longer satisfactory. his strong suit in the ensuing, spinning the movement’s initial music to bring the Rachmaninov’s confidence and ambition out the kind of voluptuous, romantic concerto to a quite dazzling conclusion. had recovered considerably and he now melodies at which he excelled. wished to establish himself as a major Scored for solo piano; pairs of woodwinds; creative figure. Above all he needed to The finale presents a succession of 4 horns; 2 trumpets; 3 trombones; prove himself in the field of orchestral contrasting themes: a playful opening timpani and percussion; strings. music and for this he required time to subject, a march-like figure and a warmly work out his ideas on a large scale. expressive melody for the violins. As SERGEY RACHMANINOV Resigning the conducting post he held at the movement progresses towards the Bolshoi Opera, Rachmaninov moved its conclusion, the composer recalls Symphony No. 2 in E minor, Op. 27 to Germany and in Dresden rented a ideas heard earlier in the symphony, secluded house where he could devote most notably the motto theme and his energies fully to composition. the principal subject of the Adagio. WORK COMPOSED: 1907 WORLD PREMIERE: February 8, 1908, in The first work Rachmaninov completed Scored for 3 flutes, the third doubling Moscow, conducted by the composer. in his Dresden retreat was his Second piccolo; 3 oboes, the third doubling Symphony. A piano draft of the music was English horn; 2 clarinets and bass The year 1907 saw the turning point finished in early 1907 and orchestrated clarinet; 2 bassoons; 4 horns; in Sergey Rachmaninov’s career as a during the summer. Audiences greeted 3 trumpets; 3 trombones; tuba; composer, a career that had started the new work enthusiastically at its first timpani and percussion; strings. hopefully but stalled suddenly a decade performances in Moscow and Saint earlier. Something of a child prodigy, Petersburg, in February of 1908, and its © 2017 Paul Schiavo Rachmaninov had entered the Saint success encouraged Rachmaninov to Petersburg Conservatory at age 9 proceed with one of his most famous and had written his first orchestral works, the tone poem The Isle of the composition when he was 14. By the Dead, completed later that year. time he was 20, Rachmaninov had completed a piano concerto; an opera, WHAT TO LISTEN FOR: Although its very Aleko, which was triumphantly produced immediate emotional appeal constitutes its at the Bolshoi Theater; several tone most obvious and winning quality, we can poems and chamber pieces; and a admire the Second Symphony also for its number of keyboard works, including thoughtful construction, evidenced in the the celebrated Prelude in C-sharp minor, close relationships among its themes. We which quickly attained international fame. find this particularly in the first movement, The stage seemed set for a lifetime whose introductory Largo is based entirely of rich creative accomplishment. on a brief “motto” figure — a thematic idea that recurs conspicuously at different But Rachmaninov’s artistic progress came points over the course of the composition to an abrupt standstill in 1897 with the — presented in the opening measures disastrous premiere of his Symphony by the cellos and basses. Rachmaninov No. 1. The reception of that work, on builds this section with care, restraint and which Rachmaninov had pinned much a skilled use of counterpoint, making it hope, could not have been more harsh. one of the most satisfying passages in César Cui, a respected composer and his symphonic output. The main body critic, likened the piece to the product of the first movement, which follows in of “a conservatory in Hell.” Other a quicker tempo, also issues from the commentators were scarcely more kind. motto theme. Its principal melody, heard This unmitigated public failure plunged in the violins over a plaintive clarinet the composer into a prolonged state accompaniment, begins with an almost of depression, self-doubt and inactivity. literal rephrasing of the motto and the During the next three years he composed graceful second theme develops the

40 SEATTLESYMPHONY.ORG THOMAS DAUSGAARD ALEXANDER MELNIKOV CAPPELLA ROMANA Conductor Piano

FORTE: Thomas Alexander Melnikov Dausgaard is Chief graduated from the Conductor of the BBC Moscow Conservatory Scottish Symphony under Lev Naumov. His Orchestra, Chief most formative musical Conductor of the moments in Moscow Swedish Chamber include his early Orchestra, Principal encounter with Photo: Thomas Photo: Grøndahl Photo: Photo: Guest Conductor of the Svjatoslav Richter, who Seattle Symphony, Honorary Conductor of thereafter regularly invited him to festivals the Orchestra della Toscana (ORT), and in Russia and France. He was awarded Its performances “like jeweled light flooding Honorary Conductor of the Danish National important prizes at such eminent the space” (Los Angeles Times), Cappella Symphony Orchestra, having previously competitions as the International Robert Romana is a vocal chamber ensemble served as its Principal Conductor from Schumann Competition in Zwickau (1989) dedicated to combining passion with 2004–2011. He is renowned for his and the Concours Musical Reine Elisabeth scholarship in its exploration of the musical creativity and innovation in programming, in Brussels (1991). Melnikov’s association traditions of the Christian East and West, the excitement of his live performances, with the harmonia mundi label arose with emphasis on early and contemporary and his extensive catalogue of critically through his regular recital partner, violinist music. Founded in 1991, Cappella Romana’s acclaimed recordings. Dausgaard performs Isabelle Faust, and in 2010 their complete name refers to the medieval Greek concept internationally with the world’s leading recording of the Beethoven sonatas for of the Roman oikoumene (inhabited world), orchestras in a wide range of repertoire, violin and piano won a Gramophone which embraced Rome and Western and is an exponent of contemporary music, Award and ECHO Klassik Prize, and was Europe, as well as the Byzantine Empire of having premiered works by many living also nominated for a Grammy. Melnikov’s Constantinople (“New Rome”) and its Slavic composers. recording of the Preludes and Fugues by commonwealth. Shostakovich was awarded the BBC Music RECORDINGS: As a recording artist, he Magazine Award, Choc de classica and Flexible in size and configuration according enjoys long-standing relationships with the Jahrespreis der Deutschen to the demands of the repertory, Cappella the BIS and Da Capo labels and has made Schallplattenkritik. In 2011 it was also Romana is based in the Pacific Northwest, well over 50 CDs, including the works of named one of BBC Music Magazine’s “50 where it presents annual concert series Pelle Gudmundsen-Holmgreen with the Greatest Recordings of All Time.” His in Portland and Seattle. It regularly tours BBC Symphony Orchestra for Da Capo, discography also features works by in Europe and North America, having and complete cycles of symphonies by Brahms, Prokofiev, Rachmaninov, Scriabin appeared at venues including the Beethoven, Schubert, Schumann and Rued and Shostakovich. Metropolitan Museum of Art, Trinity Wall Langgaard. Opening Doors, his ongoing Street and Music Before 1800 in New York, FROM THE ARTIST: series for BIS with the Swedish Chamber the J. Paul Getty Center in Los Angeles, St. Orchestra, has consistently won praise for “The first movement of the first version Paul’s Cathedral in London, the Pontificio performances of 19th-century repertoire of the First Concerto I actually tried to Istituto Orientale in Rome, the Sacred Music more usually associated with symphony play at the age of 12 and this piece of Festival of Patmos, the University of Oxford, orchestras. His most recent release is a course retains a very special place in Princeton University and Yale University. critically acclaimed recording of Mahler’s my heart because it was my very first Symphony No. 10 (Deryck Cooke version) time I was really turned on by a piece with the Seattle Symphony. Currently he of music I was working on and its, back ALEXANDER LINGAS is completing a Brahms cycle for BIS, then, overwhelming difficulties. The two Cappella Romana Music Director & and future plans include a recording other movements and eventually learning Founder of the Swedish Chamber Orchestra’s the second revised version came much Brandenburg project, which combines later. The Northwest (Seattle, Vancouver, Alexander Lingas, music director and Bach’s Brandenburg Concertos with newly Portland) is a corner of North America that founder of Cappella Romana, is a Reader commissioned companion pieces. is very dear to me. The Seattle Symphony in Music at City University London and is a miracle of an orchestra — free, a Fellow of the University of Oxford’s MORE: He has been awarded the Cross of imaginative and high quality. All those European Humanities Research Centre. He Chivalry by the Queen of Denmark, and qualities are of course being nurtured and received his Ph.D. in Historical Musicology elected to the Royal Academy of Music in developed by Maestro Morlot in the most from the University of British Columbia. Sweden. His interests beyond music are convincing way. I am also very happy to His present work embraces not only wide-ranging, and include architecture, collaborate with Thomas Dausgaard, a historical study but also ethnography landscape, and a fascination with the life marvelous conductor with whom I had the and performance. Formerly Assistant and culture of remote communities. He lives honour to perform with ages ago.” Professor of Music History at Arizona State in Denmark with his family. University’s School of Music, Dr. Lingas has also served as a lecturer and advisor for the Read Thomas Dausgaard’s reflections on Institute of Orthodox Christian Studies at the page 12. University of Cambridge.

encoreartsseattle.com 41 SEATTLE SYMPHONY DONORS

PRINCIPAL BENEFACTORS PRINCIPAL MUSICIANS CIRCLE Ms. Taylor Swift, The Taylor Swift Charitable Fund of The Seattle Symphony acknowledges with The following donors have generously underwritten the the Community Foundation of Middle Tennessee gratitude the following donors who have made appearances of principal musicians this season. Anonymous (4) lifetime commitments of more than $1 million as of January 25, 2017. Thomas and Susan Bohn Bronze ($25,000 – $49,999) Sue and Robert Collett Chap and Eve Alvord 15 4Culture William and Janice Etzold Bob and Clodagh Ash ^ 15 Dr.* and Mrs. Ellsworth C. Alvord, Jr. Muriel Van Housen and Tom McQuaid Sherry and Larry Benaroya ° 5 Andrew W. Mellon Foundation Patricia and Jon Rosen Andrew Bertino-Reibstein, in memory of ArtsFund Anonymous David Reibstein ArtsWA Clise Properties, Inc. Beethoven, A Non Profit Corporation/ SYMPHONY MUSICIANS CIRCLE Barney Ebsworth and Rebecca Layman-Amato ° 5 Classical KING FM 98.1 The following donors have generously sponsored a William O. and K. Carole Ellison Foundation Alan Benaroya section musician this season. Katharyn Alvord Gerlich 15 Sherry and Larry Benaroya Dr. Martin L. Greene and Kathleen Wright ° 5 The Benaroya Family Dr. C. Bansbach Lyn and Gerald Grinstein ^ 15 Bill & Melinda Gates Foundation Stephen Elop and Susan Johannsen Ilene and Elwood Hertzog ° 15 The Boeing Company Nancy Neraas and Michael King Hot Chocolate Fund 5 C.E. Stuart Charitable Fund Dr. Ryo and Kanori Kubota Dana and Ned Laird ° 15 Charles Simonyi Fund for Arts and Sciences Mr. and Mrs. Richard Moore Paul Leach and Susan Winokur ° 15 Leslie and Dale Chihuly The Nakajima Family Harold Matzner The Clowes Fund, Inc. Cookie and Ken Neil Linda Nordstrom 15 Priscilla Bullitt Collins* Gary and Susan Neumann Jay Picard ° Jane and David R. Davis Melvyn* and Rosalind Poll James and Sherry Raisbeck ^ 10 Delta Air Lines Jane and James Rasmussen Patricia and Jon Rosen ° 5 Estate of Marjorie Edris Norm and Elisabeth Sandler/The Sandler Foundation Eric and Margaret Rothchild 5 Judith A. Fong and Mark Wheeler Seattle Met Grant and Dorrit Saviers 5 The Ford Foundation Anonymous Dave and Amy Fulton Mel and Leena Sturman Muriel Van Housen and Tom McQuaid 5 William and Melinda Gates Thank you to Judith A. Fong for providing matching Stephen and Leslie Whyte ° 5 Lyn and Gerald Grinstein funds for this new program. For more information H.S. Wright III and Katherine Janeway 15 Lenore Hanauer about musician sponsorship, please contact Becky Virginia and Bagley* Wright 15 David J. and Shelley Hovind Kowals at 206.215.4852. Illsley Ball Nordstrom Foundation Anonymous (2) Kreielsheimer Foundation The Kresge Foundation INDIVIDUALS MAESTROS CIRCLE Marks Family Foundation The Seattle Symphony gratefully recognizes the Gold ($15,000 – $24,999) Bruce and Jeanne McNae following individuals for their generous Annual Fund 5 Microsoft Corporation and Special Event gifts through January 25, 2017. Warren A. and Anne G. Anderson 15 Microsoft Matching Gifts Program If you have any questions or would like information Thomas and Susan Bohn 15 M.J. Murdock Charitable Trust about supporting the Seattle Symphony, please visit us Sue and Robert Collett ^ National Endowment for the Arts online at seattlesymphony.org/give or contact Donor The Martine and Dan Drackett Family Foundation Nesholm Family Foundation Relations at 206.215.4832. William and Janice Etzold The Norcliffe Foundation Senator and Mrs. Daniel J. Evans ° 15 PONCHO Thank you for your support. Our donors make it all Jerald Farley ° 15 James and Sherry Raisbeck possible! Richard and Elizabeth Hedreen 15 Gladys* and Sam* Rubinstein Charles E. Higbee, MD and Donald D. Benedict* 15 15 S. Mark Taper Foundation STRADIVARIUS CIRCLE Chuck and Pat Holmes ^ Jeff and Lara Sanderson Nader and Oraib Kabbani ° Platinum ($250,000+) Seattle Office of Arts & Culture Klorfine Foundation Seattle Symphony Foundation The Benaroya Family 15 Moe and Susan Krabbe 15 Seattle Symphony Women’s Association Leslie and Dale Chihuly ° 15 Dawn Lepore and Ken Gladden ° 5 Leonard and Patricia Shapiro Judith A. Fong and Mark Wheeler ° 5 Edmund W., Jr. and Laura Littlefield Samuel* and Althea* Stroum Marks Family Foundation ° Richard and Francine Loeb Dr. Robert Wallace Anonymous (2) Kjristine R. Lund ° 5 Joan S. Watjen, in memory of Craig M. Watjen Yoshi and Naomi Minegishi ^ 15 Virginia and Bagley* Wright Gold ($100,000 – $249,999) Robert Moser Anonymous (6) The Nakajima Family ° 5 Lenore Hanauer 15 Dick and Joyce Paul ° 10 *In Memoriam Jean-François and Catherine Heitz ° 10 Sally G. Phinny ^ Helen and Max Gurvich Advised Fund Seattle Symphony Volunteers David J. and Shelley Hovind ^ 10 GUEST ARTISTS CIRCLE Patricia Tall-Takacs and Gary Takacs ^ 15 Martin Selig and Catherine Mayer ^ The Atsuhiko and Ina Goodwin Tateuchi Foundation 5 The following donors have generously underwritten the Eliza and Brian Shelden Rick and Debbie Zajicek appearances of guest artists this season. Joan S. Watjen, in memory of Craig M. Watjen 15 Anonymous (2) Anonymous Andrew Bertino-Reibstein, in memory of Silver ($10,000 – $14,999) David Reibstein Silver ($50,000 – $99,999) The Dan and Martine Drackett Family Foundation Richard and Constance Albrecht ^ 15 Judith Fong Music Director’s Fund Dr.* and Mrs. Ellsworth C. Alvord, Jr. 5 Peter Russo and Kit Bakke 5 Ilene and Elwood Hertzog Dr. Susan Detweiler and Dr. Alexander Clowes* ° 15 Dr. C. Bansbach Hot Chocolate Fund Dave and Amy Fulton ^ 5 Jeanne Berwick and James Degel, Berwick Degel Dana and Ned Laird Lynn and Brian Grant Family ° 5 Family Foundation 5 Paul Leach and Susan Winokur Dr. Kennan H. Hollingsworth ^ 15 Drs. Jim and Sue Bianco ° Dr. Pierre and Mrs. Felice Loebel Jeffrey S. Hussey ° Mardi and Frank Bowles Sheila B. Noonan and Peter M. Hartley Jeff Lehman and Katrina Russell ° 5 Paul B. Brown and Margaret A. Watson ° 5 Nordstrom Dr. Pierre and Mrs. Felice Loebel ^ 15 Children Count Foundation 5 James and Sherry Raisbeck Pamela Merriman 5 Kathy Fahlman Dewalt and Stephen R. Dewalt ° 5 Eric and Margaret Rothchild Jerry Meyer and Nina Zingale 5 Henry M. Finesilver 5 Grant and Dorrit Saviers Sheila B. Noonan and Peter M. 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Parul and Gary Houlahan ° Ann Chandler Bronze ($3,500 – $4,999) M. Elizabeth Warren 5 Juniper Foundation 10 Min and Michael Christ Bryna Webber and John and Andrea Adams Janet Wright Ketcham Foundation 5 David Clark Dr. Richard Tompkins 5 Ignacio Alvarado-Cummings Will and Beth Ketcham ° Steven and Judith Clifford 5 Stephen and Marcia Williams Geoffrey Antos 5 Nancy Neraas and Michael King ° 5 Jacqueline B. 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Bryan Lung 5 Kendall and Sonia Baker 5 Patty Fleischmann Erica Lewis and Richard Erickson, Seed Gunilla and Vidur Luthra Tracy L. Baker 15 Debra and Dennis Floyd Fund of Greater St Louis Community Mark P. Lutz 15 Dr. and Mrs. John Baldwin Barry and JoAnn Forman Foundation Louisa and Scott Malatos Dr. and Mrs. Terrence J. Ball 5 Paula Fortier Henry Li Elliot Margul 5 Richard Barbieri and Lyn Tangen Dana A. Frank James Light 5 Ken and Robin Martin ^ Joel Barduson Ms. Janet Freeman-Daily 10 Michael Linenberger and Sallie Dacey David Mattson Sarah and Rich Barton Ed and Kathy Fries Mark Linsey and Janis Traven Diane Mayer Amie Batson Andrew and Molly Gabel Anne and Steve Lipner Anne McDuffie and Tim Wood 5 Douglas and Maria Bayer 15 Terri and Joseph Gaffney 5 Robert and Marylynn Littauer 5 Brooke and Dre McKinney-Ratliff Michael and Stephanie Beers Ruth and Bill* Gerberding ^ 5 Sharon Lott Drs. Pamela and Donald Mitchell 15 Carl and Renée Behnke Janice A. and Robert L. Gerth 15 Lovett-Rolfe Family Trust Ryan Mitrovich Dr. Melvin Belding and Dr. Kate Brostoff James and Carol Gillick ^ 10 Fo-Ching Lu and Andrew Roberts Gary Moresky 5 Judith and Arnold Bendich Jeffrey and Martha Golub 10 Susan and Jeff Lubetkin Ms. Mary Ellen Mulder Geoffrey Bent and Katie Kemezis 5 Mary Lee Gowell Mr. and Mrs. Louis Lundquist 5 Mika Nakamura and Gary Wood Kathy Binder Maridee Gregory ∞ 5 Douglas MacDonald and Lynda Mapes Isabella and Lev Novik Marilyn Boss Julie Gulick Michael and Barbara Malone Arwa and Mohammed Obeidat Bob* and Jane Ann Bradbury 10 Mr. and Mrs. David Hadley 10 Mary Ann and Ted Mandelkorn Rena and Kevin O’Brien Herb Bridge and Edie Hilliard Bruce Haldane Mark Litt Family DAF of the Jewish Jerald E. Olson 15 S. Lori Brown Mary Stewart Hall 10 Federation of Greater Seattle 5 Mr. and Mrs. Thomas Olson Cy and Kathleen Butler James and Darlene Halverson Anne and Karl Marlantes Ralph and Marlys Palumbo ^ Alan and Ciara Byars Leslie and Nick Hanauer Marcia Mason Allan and Jane Paulson 15 Frank and Phyllis Byrdwell ^ Deena C. Hanke ∞ Charles T. Massie ∞ 15 David F. Peck 15 Mary and Patrick Callan Dave and Sandy Hanower Erika and Nathan Mattison Nancy and Christopher Perks 10 April Cameron 10 Dr. and Mrs. James M. Hanson 5 Lois Mayers Rosemary Peterson Karen Cameron Katrina Harris Florence and Charlie Mayne Hera Phung 5 Corinne A. Campbell 5 Susan and Tom Harvey Michael and Rosemary Mayo 15 Marcus Phung 5 Craig and Jean Campbell 15 Mary Heckman Doug and Joyce McCallum Guy* and Nancy Pinkerton 5 Elizabeth M. Campbell Dr. and Mrs. Robert M. Hegstrom 5 Malcolm and Diane McCallum 5 Cary Plotkin and Marie-Therese Brincard Wally and Sally Campbell Mike and Liz Hilton John and Gwen McCaw Aimme Qiao Janitta and Bob Carithers Suzanne Hittman Ashley McDougall Carrie Delaney Rhodes Cory Carlson Bob Hoelzen 5 Diane and Scott McGee Ed and Marjorie Ringness 15 Carol and John Austenfeld Norm Hollingshead 5 Hughes and Kelley McLaughlin Richard and Bonnie Robbins Charitable Trust 5 Bob Holtz and Cricket Morgan 5 Karen and Rick McMichael ∞ 15 Nancy M. Robinson 15 Benjamin Carr Margaret and Marc Horton Mary McWilliams 10 Sharon Robinson 5 Emily Carroll 5 Carole and Rick Horwitz Mary Mikkelsen 15 Helen Rodgers 15 Vicente Cartas Espinel Gretchen and Lyman* Hull 15 Ronald Miller and Murl Barker 5 Marnie Roozen Kent and Barbara Chaplin 10 Joni Scott and Aedan Humphreys ∞ Laurie Minsk and Jerry Dunietz Annie and Ian Sale Michael and Gayle Charlesworth ∞ 5 Michael Hunter Chie Mitsui ∞ Thomas and Collette Schick 15 Jorge Chavez Sara Hurley Charles Montange and Eckhard Schipull 10 Gerrie Cherry Richard and Roberta Hyman ∞ 5 Kathleen Patterson 15 Dr. and Mrs. Jason Schneier 5 Mr. James Chesnutt 5 Joyce and Craig Jackson Alex and Nayla Morcos Susan Schroeter-Stokes and Michelle and Abhineet Chowdhary Ralph E. Jackson 15 Mary and Alan Morgan Robert Stokes 5 Terese Clark Eric Jacobs  Christine B. Moss 15 Charles and Maria Schweizer Joshua D. Closson Randy Jahren 5 Donald and Shirley Mottaz 5 Jo Ann Scott Sam and Karen Coe Mr. and Mrs. Jerry Janacek Kevin Murphy 15 Jeff and Kim Seely Mr. Peter Cohen and Ms. Bettina Stix Megan Hall and James Janning ∞ + 5 Mr. and Mrs. J. P. Naughton 15 Barbara and Richard Shikiar 15 Ida Cole Lawrence Jen Paul Neal and Steven Hamilton ∞ 5 Yuka Shimizu Ellen and Phil Collins 15 Robert C. Jenkins 5 Kirsten Nesholm 5 Jon Shirley and Kim Richter Mr. and Mrs. Frank Conlon Clyde and Sandra Johnson 5 Marilyn Newland 5 Mary Snapp and Spencer Frazer Peter and Lori Constable ∞ Rodney J. Johnson Paul and Linda Niebanck Christopher Snow 5 The Honorable Dow Constantine and Christy Jones and Rob Lilleness Linda Nordberg Stella Stamenova Ms. Shirley Carlson Dr. Kari Jones Eric Noreen and Suzi Hill Lorna Stern 15 Herb and Kathe Cook 5 Neil and Ciara Jordan Ken and Pearl Noreen Isabel and Herb Stusser 10 Richard Cuthbert and Shreya Joseph Sharon L. Norris Mr. and Mrs. C. Rhea Thompson Cheryl Redd-Cuthbert Zagloul Kadah 5 Mary Odermat Betty Lou and Irwin* Treiger 15 Russell Daggatt and Gretchen Kah 5 Tim O’Keefe Jan and Nancy Wanamaker 5 Gemma Valdez Daggatt Suzanne and Steve Kalish Mrs. Jackie A. O’Neil 5 John and Fran Weiss 15 Robert Darling 5 Peter Kelly Phillip O’Reilly Norma Wells 5 Tatiana Davidson 5 Sean and Lisa Kelly 5 Leo Ortiz and Adriana Aguirre Charles Wheeler Margaret and Lou Dell’Osso Michael and Mary Killien 15 Thomas and Cynthia Ostermann 10 Cliff Burrows and Anna White 5 David and Helen Dichek Ragan and Ed Kim Richard and Peggy Ostrander Ms. Bethany Winham Dee Dickinson 5 Douglas F. King 15 Meg Owen 5 Jeff Wood and Diane Summerhays Brooke Benaroya Dickson Karol King 5 Dena and Tom Owens Barbara and Richard Wortley 5 Anthony DiRe Virginia King 5 David and Gina Pankowski Carol Wright Dwight and Susan Dively 5 Carolyn and Robert Kitchell Richard and Sally Parks Kay H. Zatine 15 Anne and Bob Doane Peter and Susan Knutson PAS Financial Planning Christian and Joyce Zobel 5 Everett and Bernie DuBois 10 Vera Koch Perspectives of New Music Igor Zverev 15 Ken Duncan and Tanya Parish 5 Maryann and Tom Kofler Jasen Peterman Anonymous (13) Jeff Eby and Zart Dombourian-Eby  5 Allan and Mary Kollar Lisa Peters and James Hattori Mr. Scott Eby ∞ 5 Jodi Krause Thomas Pfenning Musicians Club ($1,000 – $1,999) Dr. Lewis and Susan Edelheit Brian and Peggy Kreger 15 Stewart Phelps 5 10 Abel Family Fund Leo and Marcia Engstrom Dr. and Mrs. Alvin Kwiram Don and Sue Phillips 5 Peter Aiau and Susan Ormbrek Mr. David Epstein Eric Lam Stephen Phinny 15 John Akin and Mary Stevens Mary and Geoffrey Evans Ron and Carolyn Langford Derek and Anna Pierce 10 15 Eddy and Osvaldo Ancinas Dr. and Mrs. R. Blair Evans Peter M. Lara Valerie and Stanley Piha Carlton and Grace Anderson 5 Randi Fatizzi J&J Latino O’Connell Andrey Popov 5 Richard and Dianne Arensberg Al Ferkovich and Dr. Gordon D. LaZerte Prairie Foundation 15 15 Dr. Sharon and Vince Augenstein Joyce Houser-Ferkovich Gregory and Mary Leach Lori and Bill Price 10 15 Larry Harris and Betty Azar 15 Maria Ferrer Murdock Virginia and Brian Lenker ∞ Mrs. Eileen Pratt Pringle 15 5 15 Michele and Charles Bacon Jerry and Gunilla Finrow Don and Carla Lewis Llewelyn G. and Joan Ashby Pritchard ^ Wael Bahaa-El-Din and Gerard Fischer Harry* and Ann Pryde Amira El Bastawissi Ashley Myers and Andrew Fitz Gibbon Ann Ramsay-Jenkins

44 SEATTLESYMPHONY.ORG SEATTLE SYMPHONY DONORS

Paul and Bonnie Ramsey Jerry and Nancy Worsham 10 The Cello Section, Glen and Ann Hiner, by Mary C. Ransdell and Keith Wong Talia Silveri Wright Betty Graham Eugene Leibowitz Robert F. Ranzenbach 10 Esther Wu Reverend Kerry and Robin Reese 10 Lee and Barbara Yates 15 Stella Chernyak, by Virginia Hunt Luce, by Jean A. Rhodes 5 Mrs. Sarah Yeager 5 David Gaglione Tom Luce Fred Richard 15 Maeng-Soon Yu 10 John Richardson II 5 Robert and Eileen Zube 5 Leslie Chihuly, by Linda Jones, by Deborah and Andrew Rimkus 5 Anonymous (24) The Sam and Peggy Grossman Family Rochelle Morrissey Melissa Rivello Foundation Ms. Jean C. Robinson 5 5 5 years of consecutive giving Norm Hollingshead Leila Josefowicz, by Mike Robinson 10 10 years of consecutive giving Dr. Pierre and Mrs. Felice Loebel Norm Hollingshead Jack Rodman and Koh Shimizu 15 15 years or more of consecutive giving Harold Matzner Joseph L. Romano ∞ Monthly Sustaining Donor The M. C. Pigott Family Karneia, by Stan and Michele Rosen  Musician Matt Stevenson Allen R. Schwerer Dr. Len and Gretchen Jane Rosoff ° Board Member Barbara Tober Michelle and Jerry Rubin ^ Lifetime Director Su-Mei Yu Sherri King, by Don and Toni Rupchock 15 Æ Staff Anonymous Vince Koester David Sabee and Patricia Isacson Sabee  * In Memoriam Sarah and Shahram Salemy Elaine Cho, by Zhenlun Li, by Matthew Salisbury To our entire donor family, thank you for Samuel Plott Esther Wu Sara Delano Redmond Fund your support. You make our mission and Kate and Matthew Scher music a reality. Terry Clark, by Dr. Pierre and Mrs. Felice Loebel, by Mr. and Mrs. Joseph Schocken Lara Clark Marilyn Layton Judith Schoenecker and Did you see an error? Help us update Dr. and Mrs. Larry Martin Christopher L. Myers 5 our records by contacting friends@ Samuel Clarke, by Nancy and James Schultz + 5 seattlesymphony.org or 206.215.4832. David Gaglione Hayley Lyons, by Janet Sears 10 Thank you! Sue Lyons Janet and Thomas Seery 10 Marianne Cole, by Tanya and Gerry Seligman 5 HONORARIUM GIFTS Mitzi Cieslak Marcia Mason, by Kathleen and Eric Ottum Anne Shinoda-Mettler Gifts to the Seattle Symphony are a 15 by Charles Shipley wonderful way to celebrate a birthday, Rosalie Contreras, Robert Haeger , by Robert and Anita Shoup honor a friend or note an anniversary. Reid and Marilyn Morgan William Shuman Mr. and Mrs. Bill Bonnett In addition to recognition in the Encore 10 Dr. Charles Simrell and Deborah Giles program, your honoree will receive a card Joseph Crnko and the Seattle Symphony 5 , by Mika and Jenny Sinanan from the Symphony acknowledging your Chorale Ludovic Morlot and the Seattle Norm Hollingshead , by Jill Singh thoughtful gift. Symphony Randip Singh Sandra and James Taylor Norm Hollingshead Martine and Dan Drackett Douglas Smith and Stephanie Ellis-Smith Gifts were made to the Seattle , by Anonymous Joan Smith Symphony in recognition of those listed Samantha DeLuna 5 Megan Hall and James Janning Stephen and Susan Smith below between January 1, 2016 and Jennifer Lee , by Harry Snyder January 25, 2017. Please contact Donor Laurel Nesholm 5 Moya Vazquez Kathleen and Robert Spitzer Relations at 206.215.4832 or friends@ 5 Doug and Katie Sprugel seattlesymphony.org if you would like to Will Dixon and Jay Picard, by , by Donald and Sharalyn Stabbert recognize someone in a future edition David Gaglione Nu.Mu.Zu Dr. and Mrs. Robert Stagman 15 Scott Siken of Encore. Craig and Sheila Sternberg Zart Dombourian-Eby, by Ms. Marilyn E. Garner Llewelyn Pritchard, by Steve and Sandy Hill Family Fund at the 1201 Third Avenue Parking Garage, by 15 Mr. and Mrs. Thomas Olson Seattle Foundation ^ Charles Montange and Kathleen 5 Diane Stevens Patterson Emily Evans, by Ms. Heather L. Stotz 5 Ellen Hope David Rambo, by Trenton Rambo Hope and Richard Stroble Jennifer Adair, by 15 Audrey and Jim* Stubner Michelle Hamilton Dr. Daniel Feller, by Victoria Sutter 5 Jeffrey Girardin Sue and Tom Raschella’s 50th Wedding Anniversary, by Lina and Lino Tagliapietra John Adams, by Bob and Clodagh Ash David Tan and Sherilyn Anderson-Tan Mr. Roy Hughes Jonas Flueckiger, by Mabel and Jason Tang Shon Schmidt Jennifer Connors 5 Jeffrey Phillippe Ronald and Pamela Taylor Afman, by 10 John Phillippe Bob and Mimi Terwilliger Varun Chhabra and Natasha Gupta Steve Frank’s 75th Birthday, by Meryl and Donald* Thulean 15 Patricia and Jon Rosen Stella Rolph, by Barbara Tober Claire Angel, by Simone Spiess Vahe Torossian Lyn and Gerald Grinstein Janice A. Gerth, by Elaine Tsai Mikal and Lynn Thomsen Robert Gerth , by Lorna Tumwebaze Andrea Wenet Jon Rosen Dolores Uhlman 15 Sam Glatstein, by Joe and Linda Berkson Benjamin Glatstein Sami Uotila and Tuula Rytila Bob Ash, by 5 , by Manijeh Vail Jeff Eby and Zart Dombourian-Eby Bernice Rind 15 Bob and Clodagh Ash Gretchen Van Meter Sue and Thomas Raschella Nancy Page Griffin, by Johanna P. VanStempvoort 15 Mina Miller and David Sabritt Howard Moss and Pauline Shapiro 5 Michael Schick and Katherine Hanson David and Julie Peha Mary Lou and Dirk van Woerden Jared Baeten and Mark Ruffo, by Kay Zatine Karoline Vass Eugene Brown Tara and John Verburg Augustin Hadelich, by Norm Hollingshead Norman and Elisabeth Sandler, by Donald J. Verfurth Susan and Armin Baumgartel, by 10 Stephanie and Michael Beers Doug* and Maggie Walker Zanne and Ian Gerrard 15 Ralph and Virginia Wedgwood Erica Peterson Patty Hall, by Ed and Pat Werner 5 Michael and Kelly Hershey Michael Schmitt, by 5 Barbara Schlotfeldt Greg Wetzel Becky Benaroya, by 5 Judith A. Whetzel Harold Matzner Lenore Hanauer, by by Roger and June Whitson ∞ Beverly Schoenfeld Penelope Burke Seattle Symphony Volunteers, Mitch Wilk Ken Abramson and Helen Santibanez , by Michael Winter Steve Bush and Christine Chang, by Mary Henderson 5 , by Mr. Eric Wong Clarius Group Linda Werner Virginia Senear Jessie and David Woolley-Wilson Kelly Schmidt Elizabeth and Troy Wormsbecker T.J. Callahan, by Harald and Jenny Hille, friends of Tim Callahan Ludovic Morlot, by Richard and Barbara Shikiar, by Margaret and Andrew Gordon Sandra Smith

encoreartsseattle.com 45 SEATTLE SYMPHONY DONORS

Peggy Spencer, by Arthur Caputi, Jr., by Shirley H. Fuller, by Laurie Griffith Nancy McConnell Marti Caputi Marise and Randy Person Jane Hargraft and Elly Winer David and Sharron Hartman Betsy and Gary Spiess, by Frederic Chopin, by William Gerberding, by Marilyn McManus Ling Chinn Xiaoxia Zhou Leslie and Dale Chihuly Linda Nordberg Mr. and Mrs. David L. Fluke Jack Norman Rachel Swerdlow, Walter Gray, and Paul Lydia Christofides, by Dr. Kennan H. Hollingsworth Pat and Jon Rosen Rafanelli, by Gerald B. Folland Llewelyn G. and Joan Ashby Pritchard Milicent Savage Mark Linsey and Janis Traven SRG Partnership, Inc Dr. Alexander Clowes, by Booker T. Gibson, by Carlyn Steiner Tuning Up!, by Charles Alpers and Ingrid Peterson Patricia and Jon Rosen Dennis and Diane Warshal Penelope Burke Bob and Clodagh Ash Roy L. Hughes Dr. and Mrs. Forrest Bennett Billie Grande, by John J. and Gertrude M. Rangstrom, by Mardi and Frank Bowles Patricia and Jim Davis Jon Fourre [untitled], by Butler’s Hole Fund Norm Hollingshead Barbara A. Cahill Allan Granquist, by David Reibstein, by Drs. Lihua Chen and Yihua Xiong Steven Lundholm Andrew Bertino-Reibstein Karla Waterman, by Leslie and Dale Chihuly Kay H. Zatine Dr. Susan Detweiler Grandma Bosma, by Sam and Gladys Rubinstein, by Dan and Nancy Evans Andrew Emory Leslie and Dale Chihuly James and Mary Lou Wickwire, by David and Dorothy Fluke Melissa and David Wickwire Dr. Kennan H. Hollingsworth Gretchen Hull, by Carole Sanford, by Becky Kowals Anonymous Horizon House Supported Living Kathleen Wright and Martin Greene, by John and Nancy Lightbody Joel Paisner Jack and Sandy McCullough Bertram H. Hambleton, by Herman Sarkowsky, by Patricia and Jon Rosen C. Gardner McFall and Peter Olberg Ginger Campopiano Leslie and Dale Chihuly John and Laurel Nesholm Jill Palmer David and Dorothy Fluke Julie Wotruba, by Sheila B. Noonan and Peter M. Hartley Virginia Park Llewelyn G. and Joan Ashby Pritchard David Gaglione Laird Norton Wealth Management Carolyn and Michael Patterson Bill Hirschfeld, by Walter Schoenfeld, by Susan Pazina Marjorie J. Levar Leslie and Dale Chihuly MEMORIAL GIFTS Melvyn and Rosalind Poll Phyllis Stern Sue and Tom Raschella Allen Senear, by Gifts were made to the Seattle Symphony Patricia and Jon Rosen David James Howe, by Reid and Marilyn Morgan to remember those listed below between Dr. and Mrs. Gilbert J. Roth Mary Howe January 1, 2016 and January 25, 2017. For The Seattle Commissioning Club Richard Howe Julia Shaw, by information on remembering a friend or Eve Gordon Anderson and Mark Jane Qualia Bob and Clodagh Ash loved one through a memorial gift, please Anderson Sue and Tom Raschella contact Donor Relations at 206.215.4832 Roy and Laura Lundgren Joseph Hylland, by or [email protected]. Dr. Alan and Mary Morgan Rebecca Benson Amy Sidell, by Patricia Tall-Takacs and Gary Takacs John and Laurel Nesholm Jane and Don Abel, by Ken Shapero and Dianne Aprile Gretchen Hull, by Sue and Tom Raschella The Abel Family Fund Doug and Katie Sprugel Mary and Patrick Ragen

Craig and Sheila Sternberg Nancy Simek, by David Anderson, by Linda Stevens Suzie Johnston, by William and Janice Etzold Julie L. Antle-Anderson Neal B. Abraham and Donna L. Wiley Edgar and Linda Marcuse Anonymous Langdon Simmons, by Arval, by Milton Katims, by Llewelyn and Jonie Pritchard Dr. L. Newell-Morris Kent Coleman, by Pamela Katims Steele Jan Coleman Sam and Althea Stroum, by Wanda Beachell, by Yun-Kuk Kim, by Leslie and Dale Chihuly E. A. Beachell S. Patricia Cook, by Douglas Kim Capt. Charles Cook James Stubner, by Bill Beery, by Marcy Krueger, by Bob and Clodagh Ash Madeline Beery Lucy J. Ding, by Amanda Budde-Sung Bucknell Stehlik Sato & Stubner, LLP Paula Ding Leslie and Dale Chihuly Jack Benaroya, by Laurence Lang, by Sue and Robert Collett Leslie and Dale Chihuly Jackie Davenport, by Rosalie Lang Doug and Gail Creighton Nadine Miyahara Cousins Pam, Tim, Terry and Julie, and Rose and Richard Bender, by Carolyn and Leroy Lewis, by Uncle Ron Collins Alan Cordova Lucy J. Ding, by Leslie and Dale Chihuly Carol B. Goddard Paula Ding Robert and Rhoda Jensen Donald Benedict, by Fridolf N. Lundholm, by Ken Kataoka Dr. Charles Higbee Martha Donworth, by Steven Lundholm John King Christine Marshall Richard* and Beverly Luce Gertrude Bergseth, by Ginny Meisenbach, by Natalie Malin Constance Trowbridge Doris Dwyer, by Leslie and Dale Chihuly Doug and Joyce McCallum Jeffrey W. Smith Dustin Miller Beatrice and Arlene Berlin, by William Joseph Nazzaro, by Reid and Marilyn Morgan Janice Berlin Eugene Fisher, by Mary Nazzaro Carole Narita Gayden F. Carruth Kenneth and Catherine Narita, Kimberly Donald W. Bidwell, MD, by Cascade Designs, Inc. Merlyn A. Nellist, by and Andy Absher, Karen and Steve Sharon Bidwell Donna Nellist Shotts, and Kristen Narita Wesley Fisk, by Leona Narita Grandma Bosma, by Renate Stage Melvyn Poll, by Ruby Narita Andrew Emory Friends at Abbott Construction Llewelyn G. and Joan Ashby Pritchard Donald Isle Foster, by Asma Ahmed Sue and Tom Raschella Rob Bradbury, by Karen Laband Larry and Sherry Benaroya Kathleen Sesnon Jane Ann Bradbury Sheila B. Noonan and Peter M. Hartley Lisa Bergman Patricia Tall-Takacs and Gary Takacs Everyone at Cactus Restaurant The Urner Family Bev Bright, by , by Carolyn Burnett John Walcott Rita Gray Beulah Frankel Ginny Gensler Dale and Leslie Chihuly Mary and Findlay Wallace Timotha and Charles Freedenberg Wiatr & Associates

46 SEATTLESYMPHONY.ORG SEATTLE SYMPHONY DONORS SEATTLE SYMPHONY DONORS

Marjorie Winter Brian Weiss, by ESTATE GIFTS Carol Hahn-Oliver Richard and Barbara Wortley Sue Eriksen We gratefully remember the following Allan and Nenette Harvey Kay Zatine Dina Jacobson individuals for their generosity and Yveline Harvey Lars Sorenson forethought, and for including the Betty L. Kupersmith Don Thulean, by Janice T. Whittaker, by Seattle Symphony in their will, trust E. Marian Lackovich Todd Gordon and Susan Feder Jody Friday or beneficiary designation. These Anna L. Lawrence Reid and Marilyn Morgan legacy gifts provide vital support for Arlyne Loacker John and Laurel Nesholm Richard Yarington, by the Symphony now and for future Olga M. McEwing Sheila B. Noonan and Peter M. Hartley Yoko Barnett generations. (Estate gifts since Peter J. McTavish Llewelyn G. and Joan Ashby Pritchard Robert E. Clapp September 1, 2014.) Norman D. Miller Sue and Tom Raschella Barbara McHarg Nuckols-Keefe Family Foundation Jennifer Schwartz Cheryl Jefford Dr. William and Mrs. Laura Andrews Beatrice Olson Charles and Joan Johnson Harriet C. Barrett Trust Carl A. Rotter Katie Tyson, by Margaret Kiyohara Barbara and Lucile Calef John C. Rottler Elizabeth Faubell MJo Robert E. and Jeanne Campbell Allen E. Senear Carmen Delo Amy Sidell John L. Voorhees Sherry Fisher Phillip Soth Jane B. Folkrod Morton Stelling B. K. Walton, by Lenore Ward Forbes Ida L. Warren Penelope Yonge Marion O. Garrison Elizabeth C. Giblin Helen and Max Gurvich Advised Fund

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 Fund since its inception. The following list is current as of January 25, 2017. For information on endowed gifts and naming opportunities in Benaroya Hall, please contact Becky Kowals at 206.215.4852 or [email protected].

$5 MILLION + Estate of Ruth H. Hoffman Washington Mutual Estate of Virginia Iverson Anonymous (1) The Benaroya Family Estate of Peggy Anne Jacobsson Charles Simonyi Fund for Arts and Sciences $25,000 – $49,999 Robert C. Jenkins Anonymous (1) Estate of Charlotte M. Malone Edward and Pam Avedisian $1,000,000 – $4,999,999 Bruce and Jolene McCaw Estate of Bernice Baker Bruce and Jeanne McNae Estate of Ruth E. Burgess Leslie and Dale Chihuly Microsoft Corporation Estate of Barbara and Lucile Calef The Clowes Fund, Inc. National Endowment for the Arts Mrs. Maxwell Carlson Priscilla Bullitt Collins* Northwest Foundation Alberta Corkery* Judith A. Fong Peach Foundation Norma Durst* The Ford Foundation Estate of Elsbeth Pfeiffer Estate of Margret L. Dutton Dave and Amy Fulton Estate of Elizabeth Richards Estate of Floreen Eastman Kreielsheimer Foundation Jon and Judy Runstad Hugh S. Ferguson* Marks Family Foundation Estate of Joanne M. Schumacher Mrs. Paul Friedlander* Estate of Gladys and Sam Rubinstein Weyerhaeuser Company Adele Golub Leonard and Patricia Shapiro The William Randolph Hearst Patty Hall Samuel* and Althea* Stroum Foundations Thomas P. Harville Dr. Robert Wallace Estate of Helen L. Yeakel Harold Heath* $500,000 – $999,999 Estate of Victoria Zablocki George Heidorn and Margaret Rothschild* Anonymous (3) Phyllis and Bob Henigson Alex Walker III Charitable Lead Trust Michael and Jeannie Herr Mrs. John M. Fluke, Sr.* $50,000 – $99,999 Charles E. Higbee, MD and Douglas F. King Dr.* and Mrs. Ellsworth C. Alvord, Jr. Donald D. Benedict Estate of Ann W. Lawrence Estate of Mrs. Louis Brechemin Mr. and Mrs. L. R. Hornbeck The Norcliffe Foundation Estate of Edward S. Brignall Sonia Johnson* Estate of Mark Charles Paben Sue and Robert Collett The Keith and Kathleen Hallman Fund James D. and Sherry L. Raisbeck Foundation Frances O. Delaney* David and Karen Kratter Joan S. Watjen, in memory of Craig M. Watjen John and Carmen* Delo Estate of Marlin Dale Lehrman $100,000 – $499,999 Estate of Lenore Ward Forbes Estate of Coe and Dorothy Malone Estate of George A. Franz Estate of Jack W. McCoy Estate of Glenn H. Anderson Jean Gardner Estate of Robert B. McNett Andrew W. Mellon Foundation Estate of Mr. and Mrs. Irvin Gattiker Estate of Peter J. McTavish Bob and Clodagh Ash Anne Gould Hauberg* Estate of Shirley Callison Miner Alan Benaroya Richard and Elizabeth Hedreen PACCAR Foundation Estate of C. Keith Birkenfeld Estate of William K. and Estate of Elizabeth Parke Mrs. Rie Bloomfield* Edith A. Holmes Mr. and Mrs. W. H. Purdy The Boeing Company John Graham Foundation Keith and Patricia Riffle C.E. Stuart Charitable Fund Mr. and Mrs. Stanley P. Jones Rita* and Herb* Rosen and Dr. Alexander Clowes* and Estate of Betty L. Kupersmith the Rosen Family Dr. Susan Detweiler John and Cookie* Laughlin Jerry and Jody Schwarz Richard* and Bridget Cooley E. Thomas McFarlan Seafirst Bank Mildred King Dunn Estate of Alice M. Muench Seattle Symphony Women’s Association E. K. and Lillian F. Bishop Foundation Nesholm Family Foundation Security Pacific Bank Estate of Clairmont L. and Estate of Opal J. Orr Patricia Tall-Takacs and Gary Takacs Evelyn Egtvedt M. C. Pigott Family U S WEST Communications Estate of Ruth S. Ellerbeck PONCHO Estate of Dr. and Mrs. Wade Volwiler Senator and Mrs. Daniel J. Evans Estate of Mrs. Marietta Priebe Estate of Marion G. Weinthal Fluke Capital Management Seattle Symphony Volunteers Estate of Ethel Wood Estate of Dr. Eloise R. Giblett Mr. and Mrs. Paul R. Smith Anonymous (2) Agnes Gund Estate of Frankie L. Wakefield Helen* and Max* Gurvich Estate of Marion J. Waller * In Memoriam Estate of Mrs. James F. Hodges

47 SEATTLESYMPHONY.ORG encoreartsseattle.com 47 MUSICAL LEGACY SOCIETY

The Musical Legacy Society honors those who have remembered the Seattle Symphony with a future gift through their estate or retirement plan. Legacy donors ensure a vibrant future for the Seattle Symphony, helping the Orchestra sustain its exceptional artistry and its commitment to making live symphonic music accessible to youth and the broader community. To learn more about the Musical Legacy Society, or to let us know you have already remembered the Symphony in your long-term plans, please contact Director of Major Gifts and Planned Giving Becky Kowals at 206.215.4852 or [email protected]. The following list is current as of January 25, 2017.

Charles M. and Barbara Clanton Ackerman Marjorie J. Levar Joan P. Algarin Thomas and Virginia Hunt Luce Richard Andler and Carole Rush Ted and Joan Lundberg I GIVE BECAUSE ... Ron Armstrong Judsen Marquardt and Constance Niva Elma Arndt Ian and Cilla Marriott Bob and Clodagh Ash Doug and Joyce McCallum Susan A. Austin Jean E. McTavish Rosalee Ball William C. Messecar David W. Barker Jerry Meyer and Nina Zingale Donna M. Barnes Charles N. Miller Carol Batchelder Elizabeth J. Miller Janet P. Beckmann Mrs. Roger N. Miller Alan Benaroya Murl G. Barker and Ronald E. Miller Rebecca Benaroya Reid and Marilyn Morgan Donald/Sharon Bidwell Living Trust George Muldrow Rosemary and Kent Brauninger Marr and Nancy Mullen “Life Sylvia and Steve Burges Isa Nelson Dr. Simpson* and Dr. Margaret Burke Gina W. Olson Sue and Robert Collett Sarah M. Ovens Dr. Marshall Corson and Mrs. Lauren Riker Donald and Joyce Paradine wouldn’t be Betsey Curran and Jonathan King Dick and Joyce Paul Frank and Dolores Dean Jane and Allan Paulson Robin Dearling and Gary Ackerman Stuart N. Plumb Lorraine Del Prado and Thomas Donohue Roger Presley and Leonard Pezzano complete John Delo Mrs. Eileen Pratt Pringle Dr. Susan Detweiler and Dr. Alexander Clowes* Mr. and Mrs. W. H. Purdy Fred and Adele Drummond James and Sherry Raisbeck Mildred King Dunn J. Stephen and Alice Reid without the Sandra W. Dyer Bernice Mossafer Rind Ann R. Eddy Bill* and Charlene Roberts David and Dorothy Fluke Junius Rochester Gerald B. Folland Jan Rogers Symphony.” Judith A. Fong Patricia and Jon Rosen Jack and Jan Forrest Mary Ann Sage Russell and Nancy Fosmire Thomas H. Schacht Ernest and Elizabeth Scott Frankenberg Judith Schoenecker and Christopher L. Myers Cynthia L. Gallagher Annie and Leroy Searle Jane and Richard Gallagher Virginia and Allen* Senear – Jesslyn H. Jean Gardner Leonard and Patricia Shapiro William and Cheryl Geffon Jan and Peter Shapiro Natalie Gendler John F. and Julia P.* Shaw Carol B. Goddard Barbara and Richard Shikiar Frances M. Golding Valerie Newman Sils Jeffrey Norman Golub Evelyn Simpson Dr. and Mrs. Ulf and Inger Goranson Betty J. Smith Betty Graham Katherine K. Sodergren Catherine B. Green Althea C. and Orin H.* Soest Dr. Martin L. Greene Sonia Spear Roger J.* and Carol* Hahn-Oliver Morton A. Stelling* James and Darlene Halverson Diane Stevens Barbara Hannah Patricia Tall-Takacs and Gary Takacs Harriet Harburn Gayle and Jack Thompson Ken and Cathi Hatch Art and Louise Torgerson Michele and Dan Heidt Betty Lou and Irwin* Treiger Ralph and Gail Hendrickson Muriel Van Housen Deena J. Henkins Sharon Van Valin Charles E. Higbee, MD Jean Baur Viereck Harold and Mary Frances Hill Dr. Robert Wallace Frank and Katie Holland Nicholas A. Walls Dr. Kennan H. Hollingsworth Judith Warshal and Wade Sowers Chuck and Pat Holmes Douglas Weisfield Richard and Roberta Hyman James and Janet Weisman Janet Aldrich Jacobs John and Fran Weiss Robert C. Jenkins Dorothy E. Wendler WHY DO YOU GIVE? Dr. Barbara Johnston Gerald W. and Elaine* Millard West Norman J. Johnston* and L. Jane Hastings Johnston Selena and Steve Wilson Atul R. Kanagat Ronald and Carolyn Woodard Don and Joyce Kindred Arlene A. Wright Dell King Janet E. Wright Douglas F. King Rick and Debbie Zajicek Stephen and Barbara Kratz Anonymous (44) Frances J. Kwapil * In Memoriam M. LaHaise SEATTLESYMPHONY.ORG/GIVE Ned Laird Paul Leach and Susan Winokur 206.215.4832 Lu Leslan

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 January 25, 2017. Thank you for your support — our donors make it all possible!

$500,000+

Seattle Symphony Foundation

$100,000 – $499,999

Seattle Symphony Volunteers ◊

$50,000 – $99,999 $10,000 – $14,999 GE Foundation Consulate General of the Republic of Poland Classical KING FM 98.1 ◊ Aaron Copland Fund For Music Glazer’s Camera † DreamBox Learning Google Inc. † Acucela Inc. Jean K. Lafromboise Foundation DSquared † John Graham Foundation Bill & Melinda Gates Foundation KeyBank Eaton Vance KEXP † Matching Gifts Music4Life Educational Legacy Fund Laird Norton Wealth Management Coca-Cola Company Matching Gifts NAREIG Four Seasons Hotel † Microsoft Corporation Foster Pepper PLLC Peg and Rick Young Foundation Fox’s Seattle † Microsoft Matching Gifts Fran’s Chocolates ◊ RBC Foundation Garden Conservancy Nesholm Family Foundation Holland America Line ◊ Russell Family Foundation Hard Rock Cafe Seattle † Precept Wine † Lakeside Industries Sheraton Seattle Hotel † Inn at the Market † Seattle Met Magazine † Milliman † Skanska USA Norman Archibald Foundation Sullivan’s Steakhouse † KAN | Orchids Flowers † O Wines † $25,000 – $49,999 Peoples Bank Vitus Group Perkins Coie LLP Pacific Coast Feather Co. Ann and Gordon Getty Foundation The Westin Hotel, Seattle † RBC Wealth Management Paul & Dottie Foundation of the Bill & Melinda Gates Foundation DuPage Foundation Robert Chinn Foundation $3,000 – $4,999 Boeing Matching Gift Program Sam and Peggy Grossman Family Rosanna, Inc. † CTI BioPharma Corp. Amphion Foundation Foundation Russell Investments Classic Pianos ◊ The Capital Grille † Steinway & Sons Seattle/Bellevue ◊ U.S. Bank Foundation Clowes Fund, Inc. GE Foundation Matching Gifts Talking Rain † Weill Music Institute † Encore Media Group † Genworth Foundation Treveri Cellars † Anonymous Garvey Schubert Barer † Google Matching Gifts Tulalip Tribes Charitable Fund J.P. Morgan Chase & Co. IBM International Foundation Wilson Sonsini Goodrich $5,000 – $9,999 Nordstrom Schwabe, Williamson & Wyatt & Rosati Foundation Peach Foundation AETNA Thurston Charitable Foundation Seattle Cancer Care Alliance Apex Foundation Touchstone Group at Morgan Stanley † In-Kind Support Wells Fargo Private Bank Bank of America Wyman Youth Trust ◊ Financial and In-Kind Support Bellevue Children’s Academy $15,000 – $24,999 The Benaroya Company $1,000 – $2,999 Brown Bear Car Wash Ann and Gordon Getty Foundation and Acción Cultural Espagñola the League of American Orchestras Citi Community Capital Alfred & Tillie Shemanski Trust Fund Chihuly Studio † Davis Wright Tremaine BNY Mellon Elizabeth McGraw Foundation Dover Corporation Brandon Patoc Photography † Estates Wine Room ◊ D.V. & Ida McEachern Charitable Trust Chihuly Studio Sheri and Les Biller Family Foundation EY CityBldr Wild Ginger Restaurant †

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.

encoreartsseattle.com 49 SEATTLE SYMPHONY YOUR GUIDE TO THE SEATTLE SYMPHONY SPECIAL EVENTS SPONSORS & COMMITTEES

HOW TO ORDER: HOW TO GIVE: Special Events provide significant funding each season to the Seattle Symphony. We gratefully recognize our TICKET OFFICE: The concert you’re about to enjoy is possible because of donations made by generous presenting sponsors and committees who make these The Seattle Symphony Ticket Office is located events possible. Individuals who support the events at Third Ave. & Union St., downtown Seattle. music-lovers like you. below are included among the Individual Donors listings. Likewise, our corporate and foundation HOURS: Mon–Fri, 10am–6pm; Sat, 1–6pm; We invite you to join the caring community of partners are recognized for their support in the and two hours prior to performances and individuals, companies and foundations who bring Corporate & Foundation Support listings. For more through intermission. outstanding symphonic music to the community. information about Seattle Symphony events, please visit seattlesymphony.org/give/special-events. PHONE: PHONE: 206.215.4747 or 1.866.833.4747 OPENING NIGHT GALA, SEPTEMBER 16, 2017 206.215.4832 Honoring Leslie and Dale Chihuly ONLINE: seattlesymphony.org. ONLINE: SUPPORTING SPONSOR Nordstrom seattlesymphony.org/give GROUP SALES: CO-CHAIRS 206.215.4818 or MAILING ADDRESS: Renée Brisbois [email protected]. P.O. Box 21906, Seattle, WA 98111-3906 Terry Hecker MAILING ADDRESS: COMMITTEE P.O. Box 2108, Seattle, WA 98111-2108 Kathleen Boyer Corrinne Martin Meredith Broderick Hisayo Nakajima Zartouhi Paul Rafanelli Dombourian-Eby Elizabeth Roberts Kathy Fahlman Dewalt Jon Rosen SYMPHONICA, THE SYMPHONY STORE: COUGH DROPS: Cough drops are available Beth Ketcham Christine Suignard Located in The Boeing Company Gallery, Symphonica is from ushers. open weekdays from 11am–2pm and 90 minutes prior to SERVICES FOR PATRONS WITH DISABILITIES: all Seattle Symphony performances through intermission. HOLIDAY MUSICAL SALUTE, DECEMBER 6, 2016 Benaroya Hall is barrier-free and meets or exceeds all PARKING: Prepaid parking may be purchased criteria established by the Americans with Disabilities CO-CHAIRS online or through the Ticket Office. Act (ADA). Wheelchair locations and seating for those Rebecca Layman-Amato with disabilities are available. Those with oxygen Katrina Russell COAT CHECK: The complimentary coat check tanks are asked to please switch to continuous flow. is located in The Boeing Company Gallery. COMMITTEE Requests for accommodations should be made when Michelle Codd Tiffany Moss LATE SEATING: Late-arriving patrons will be seated purchasing tickets. For a full range of accommodations, Roberta Downey Rena O’Brien at appropriate pauses in the performance, and are please visit our website at seattlesymphony.org. Kathleen Mitrovich Jill Singh invited to listen to and watch performances on a monitor SERVICES FOR HARD-OF-HEARING PATRONS: Ghizlane Morlot Leslie Whyte located in the Samuel & Althea Stroum Grand Lobby. An infrared hearing system is available for patrons CAMERAS, CELL PHONES & RECORDERS: who are hard of hearing. Headsets are available TEN GRANDS, MAY 13, 2017 The use of cameras or audio-recording equipment at no charge on a first-come, first-served basis Kathy Fahlman Dewalt is strictly prohibited. Patrons are asked to turn off all in The Boeing Company Gallery coat check and Co-Founder and Executive Director personal electronic devices prior to the performance. at the Head Usher stations in both lobbies. COMMITTEE LOST AND FOUND: Please contact the Head ADMISSION OF CHILDREN: Children under the age of Rosanna Bowles Carla Nichols Usher immediately following the performance or 5 will not be admitted to Seattle Symphony performances Cheri Brennan Fawn Spady call Benaroya Hall security at 206.215.4715. except for specific age-appropriate children’s concerts. Steven Dewalt Saul Spady Tom Horsley Stephanie White EMERGENCY PHONE NUMBER: Please leave the BENAROYA HALL: Excellent dates are available for Nader Kabbani David Woolley-Wilson appropriate phone number, listed below, and your exact those wishing to plan an event in the S. Mark Taper Ben Klinger Jessie Woolley-Wilson seat location (aisle, section, row and seat number) with Foundation Auditorium, the Illsley Ball Nordstrom Ghizlane Morlot Barbara Wortley 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. CLUB LUDO, JUNE 9, 2017 Auditorium, 206.215.4825; Illsley Ball Nordstrom Recital Visit seattlesymphony.org/benaroyahall CHAIR Hall, 206.215.4776. for more information. Tiffany Moss

COMMITTEE Eric Berlinberg DINING AT BENAROYA HALL Brittany Boulding Duncan Carey Powered by Tuxedos and Tennis Shoes Catering and Events Samantha DeLuna Jackie Ernst MUSE, IN THE NORCLIFFE FOUNDERS ROOM AT BENAROYA HALL: Enjoy pre-concert dining at Muse, just a few Erica Gomez short steps from your seat. Muse blends the elegance of downtown dining with the casual comfort of the nearby Pike Place Eric Jacobs Market, offering delicious, inventive menus with the best local and seasonal produce available. Open to ALL ticket holders Jason Perkizas two hours prior to most Seattle Symphony performances and select non-Symphony performances. Reservations are Talia Silveri Saul Spady encouraged, but walk-ins are also welcome. To make a reservation, please visit opentable.com or call 206.336.6699.

DAVIDS & CO.: Join us for a bite at Davids & Co., a cafe in The Boeing Company Gallery at Benaroya Hall. Featuring fresh takes on simple classics, Davids & Co. offers the perfect spot to grab a quick weekday lunch or a casual meal before a show. Open weekdays from 11am–2pm and two hours prior to most performances in the S. Mark Taper Foundation Auditorium.

LOBBY BAR SERVICE: Food and beverage bars are located in the Samuel & Althea Stroum Grand Lobby. The lobby bars open 75 minutes prior to Seattle Symphony performances and during intermission. Pre-order at the lobby bars before the performance to avoid waiting in line at intermission.

50 SEATTLESYMPHONY.ORG THE LIS(Z)T SEEN & HEARD @ THE SEATTLE SYMPHONY seattlesymphony.org/liszt

3 5 Photos: Brandon Patoc Brandon Photos:

UNVEILING A NEW SEASON OF GUEST ARTISTS On January 24, 2017 Guest Artists Circle supporters looked highlights of the upcoming season and spoke about the ahead to the 2017–2018 season during a special event process of designing each concert program and building a at the home of Martin L. Green and Kathleen Wright. An season, and Board Chair Leslie Jackson Chihuly illustrated annual event, the Guest Artists Circle Preview is a first look the important role that the Guest Artists Circle plays in at the upcoming season for generous donors who help the making thrilling seasons like this possible. The event also Symphony present the world’s top soloists and conductors for featured a recital by Kevin Ahfat, winner of the 2015 Seattle Seattle audiences. Symphony Piano Competition and a 2016–2017 Guest Artist. President & CEO Simon Woods welcomed guests and Special thanks to Martin L. Greene and Kathleen Wright introduced the 2017–2018 season — one of the best the for hosting the event, and to all the Guest Artists Circle Symphony has presented to date — with a mix of innovative donors who bring extraordinary artists to Benaroya Hall and ambitious programming exemplifying Music Director season after season. Ludovic Morlot’s artistic passions. Ludovic Morlot shared See page 14 for more on the 2017–2018 season.

PHOTOS: 1 Board member Martin L. Green and Seattle Symphony Foundation Vice President Kathleen Wright 2 Board member Nader Kabbani and Betty Tong 3 Guests enjoyed an exclusive preview of the 2017–2018 season 4 Pianist Kevin Ahfat performed selections by Rachmaninov, Grieg and Ginastera 5 Board Chair Leslie Jackson Chihuly and Music Director Ludovic Morlot encoreartsseattle.com 51 EAP full-page template.indd 1 1/25/17 10:30 AM