2012-2013 - ProgramCover.ai 1 8/31/2012 1:27:56 PM

Twenty-First Season 2012-2013

R. Joseph Scott CONDUCTOR & MUSIC DIRECTOR Orchestra Management Board of Directors

Founding Director Joyce Cunningham Music Director & Conductor R. Joseph Scott elcome to the Sammamish Symphony’s Slice of Our program includes Beethoven’s President WVienna concert! Piano Concerto No. 4 with Miranda Thorpe celebrated piano soloist Yuka Vice-President This season marks my 14th year with this gifted Sasaki. Already well known in Mark Wiseman group of musicians. The Sammamish Symphony the Seatt le music scene for her Orchestra continues to grow in artistic excellence, concerto performances, solo Treasurer Donna Mansfi eld and the dedication of each member is evident in the recitals, educational outreach and quality of this fi ne musical ensemble. private teaching, we welcome Yuki Treasurer Emeritus in her fi rst performance with our Pat Hebner The Orchestra is presenting two concerts this season Orchestra. The concert concludes Secretary in a new venue. The Theatre at Meydenbauer Center with Mahler’s Symphony No. 1, Cathy Grindle in Bellevue is a state of the art facility and one of the The Titan. As its fi rst endeavor Directors-at-Large Pacifi c Northwest’s premier sett ings for community- with this composer’s massive and Cecilio Di Gino based performing arts. These performances continue demanding symphonic works, this Dennis Helppie Renee Kuehn our eff orts to become bett er known throughout the concert marks a milestone in the Andy Hill Eastside. Orchestra’s artistic development. Tim Winter Leslie Nielsen Armand Binkhuysen Today’s Slice of Vienna honors that world capital The centerpiece of our April Honorary Board Members of music from the 18th to the early 20th centuries. concert at Meydenbauer Theatre Don Gerend is Dvořák’s beloved New World Former Mayor, City of Sammamish Symphony, along with Seatt le Cheryl Pfl ug Symphony’s Principal Oboe Ben Washington State Senator Hausmann performing Bellini’s Oboe Concerto. We wrap up our Skip Rowley Chairman, Rowley Properties season in June with Sounds of Russia, presenting Shostakovich’s Nancy Whitt en Deputy Mayor, City of Sammamish stirring Symphony No. 5 and highlighting our Youth Concerto Personnel Competition Winner. Librarian Now, I invite you to sit back and Loryn Lestz enjoy the music! Section Librarians Eric Daane, Shelby Eaton, R. Joseph Scott Jonathan Feil, Dennis Helppie, R. Joseph Scott Libby Landy, Shannon Nelson Grants Armand Binkhuysen R. Joseph Scott Personnel Jonathan Feil native of Eastern Oregon, R. Joseph Scott has been a dynamic leader in the Renee Kuehn ANorthwest musical community for over 40 years. He att ended the University of Concert Program Oregon, School of Music and studied conducting with Eugene Furst and Wolfgang Jonathan Feil Emaugo Creative Martin of the Portland Opera. Webmaster After relocating to Seatt le, Mr. Scott continued his studies with Henry Holt of the Mark Wiseman Seatt le Opera, Mikael Scheremetiew of the Thalia Conservatory, and Vilem Sokol Auction Co-Chairs of the Seatt le Youth Symphony. He founded the Bellevue Philharmonic Orchestra, Shelby Eaton Michelle Miller serving as Music Director, Conductor and General Manager from 1967 – 1997. He is currently celebrating his 14th year with the Sammamish Symphony Orchestra. Youth Concerto Competition Renee Kuehn Maestro Scott has conducted concerts featuring a diverse array of artists, including Lobby Managers Metropolitan Opera star Roberta Peters; violinist Pamela Frank; the Seatt le Opera Kathie Jorgensen Cindy Jorgensen Chorus; the Empire Brass Quintet; the Seatt le Symphony Choral; and vocalists Anna Concessions Manager Maria Alberghett i, Lou Rawls, Maureen McGovern and Marni Nixon. Cherlyn Kozlak Mr. Scott was Resident Conductor of Lyric Opera Northwest from 2005 - 2009, and Sound Recording has appeared with numerous musical ensembles, including the Bellevue Opera. He Bill Levey has conducted world premieres of works by Alan Hovhaness, Vaclav Nelhybel and Ensemble Coordinator various regional composers. Tim Winter Rehearsal Coach Jim Truer 2 Program

R. Joseph Scott, Music Director and Conductor

Sunday, February 24th, 2013 at 2:00pm Eastlake Performing Arts Center Slice of Vienna

Yuka Sasaki, piano

Johann Strauss Jr. Tales from the Vienna Woods, Op. 325 Ludwig van Beethoven Piano Concerto No. 4 in G Major, Op. 58 Allegro moderato Andante con moto Rondo vivace Yuka Sasaki, piano

Intermission

Gustav Mahler Symphony No. 1 in D Major Langsam. Schleppend. Wie ein Naturlaut Kräftig bewegt, doch nicht zu schnell Feierlich und gemessen, ohne zu schleppen Stürmisch bewegt

Steinway piano provided by Sherman Clay - Seatt le, Washington.

Please turn off all cell phones and pagers. No audio/video recording or fl ash photography is allowed during the performance.

3 Personnel

First Violin Hans Klein Oboe Trumpet Dennis Helppie, Dan Pope Dennis Calvin, Jonathan Feil, Concertmaster Loraine Terpening Principal Principal Marianna Vail, Barb Thorne Jeremy Butkovich Brandon Jones Assistant Concertmaster Myrl Venter Kristine Kiner Erik Reed Sandy Anuras Jim Kobe Michael Wyman Kristin Edlund Cello Moira Farrel Leslie Nielsen, English Horn Trombone Jonathan Kuehn Principal Dennis Calvin Scott Sellevold, Florian Laplantif Juha Niemisto, Principal Lynne Martinell Assistant Principal Clarinet Matt Stoecker Bill Panks Diane Asness Jayne Marquess, Heather Raschko Margaret Fivash Bass Trombone Principal Haley Schaening Shiang-Yin Lee Kathy Carr Bryce Ferguson Tim Strait Loryn Lestz Linda Thomas Deborah Wade Michelle Miller Tuba Tim Winter Janet Pantoja Bass Clarinet Mark Wiseman, Gail Ratley Greg Rasa Principal Second Violin Sandra Sultan Shelby Eaton, Patricia Zundel Bassoon Timpani Principal Shannon Nelson, Eric Daane, Feather Asmussen, Bass Principal Principal Assistant Principal Jarod Tanneberg, Julia Kingrey Alexandra Chois Principal Diane Quick Percussion Cathy Grindle Natalie Johnson, David Brooks, Holly Halstead Assistant Principal Contrabassoon Principal Nancy Johnson Carolyn Horlor Stella Perlic Paula Libes Christopher Spencer Gordon Brown Brian Yarkosky Donna Mansfi eld Chris Symer French Horn Nathan McKorkle Harmony Young Piano/Keyboard Fran Pope Evelyn Zeller, Catherine Lowell, Miranda Thorpe Flute Principal Principal Richard Zong Melissa Underhill, Steve Dees Craig Kowald Principal Harp Viola Tori Berntsen Nels Magelssen Bethany Man, Libby Landy, Angela Leffi ngwell Mary Ann Reiff Principal Principal Elana Sabovic-Matt Dan Reisinger Naomi Kato Jan Rider, Steve Schwartz Assistant Principal Piccolo Gesine Woellert Armand Binkhuysen Angela Leffi ngwell Kathryn Boudreau-Stroud Elana Sabovic-Matt Heidi Fivash

The Sammamish Symphony Orchestra Are you interested in playing with us? would like to thank the City of Sammamish The Sammamish Symphony Orchestra is composed of adult for their support volunteer musicians dedicated to performing concerts and maintaining outreach programs serving Eastside communities.

Rehearsals: Thursdays 7:15-9:45 p.m. at Eastlake High School Please call 206-517-7777 or go to www.sammamishsymphony.org

4 Featured Guest

ianist Yuka Sasaki has garnered glowing concert reviews and top prizes at competitions Pfrom the U.S. and abroad. She began playing piano at age fi ve in Johannesburg, South Africa before moving back to her native Japan. Her teachers included the renowned Kazuko Yasukawa and Henriett e Puig-Roget at the Toho Gakuen School of Music (Tokyo), where she earned her Bachelor of Music in Piano Performance. While living in Japan, she won the NHK Debut Award.

Ms. Sasaki pursued her graduate studies with distinguished soloist and teacher Bela Siki at the University of Washington, where she received her Master of Music and Doctor of Musical Arts degrees in piano performance. During this time she was awarded the Mortar Board Alumnae, Brechemin and Ladies Musical Club of Washington Scholarships.

Ms. Sasaki continued her studies with Randolph Hokanson in Seatt le and Seymour Bernstein in New York. First Prize winner of the Northwest Young Artist Piano Competition, she has also won top prizes at Trani International Piano Competition (Italy), Nena Plant-Widerman Piano Competition (Louisiana) and Bushell and Ladies Musical Club Competitions (Seatt le).

Yuka Sasaki has concertized extensively in many countries including recitals at the Teatro Civico and Domenico Sarro in Italy, Piccolo Mondo International Music Festival in Switz erland, and Yokohama Kenmin, OJI, and Suntory Halls in Japan. The Ongakuno Tomo magazine in Japan has praised her “virtuosic technique [and] fantastic musical temperament with a beautiful sound.” As a concerto soloist, her appearances have included performances with the Okazaki Symphony of Japan, Northwest Symphony Orchestra, Seatt le Philharmonic and University of Washington Orchestra.

A dedicated music educator, Ms. Sasaki performs recitals on behalf of the Seatt le Music Teachers Association at venues such as the Frye Art Museum, Seatt le Art Museum and Seatt le Asian Art Museum. Currently on the faculty of the Music Department at Seatt le Central Community College, she also maintains a private studio in Bellevue. Her students have won numerous awards and been accepted to some of the world’s foremost music schools and conservatories. Don’t Miss This Upcoming Concert!

5 Program Notes

A Slice of Vienna late 19th and early 20th centuries, destructiveness of total war. Anton Bruckner and Gustav Mahler From the 18th century until the embodied two archetypes of post- In our 21st century, Vienna remains First World War, Vienna was the Wagnerian high romantic Germanic connected with its more glorious destination for an aspiring composer. music. musical history of the past centuries Various factors contributed to its in the abundance of musical off erings preeminence as a musical center, but With their contemporaries Gustav in its concert halls and theaters. the primary infl uence was perhaps its Klimt and Sigmund Freud, composers Vienna’s opera houses present long-lasting centralized monarchy. in fi n-de-siècle Vienna caught the city over 50 operas on 300 days every The Hapsburg Dynasty ruled for a during a great creative tumult in the year, along with ballets, operett as, longer period than the monarchs of moment of its incipient decay. Having musicals and musical plays. Two London or Paris, and the Emperor’s “stretched tonality to its very snapping great concert halls accommodate decisions regarding patronage and point,” as Leonard Bernstein expresses Vienna’s orchestral concert public works usually catered to the it, Mahler’s successors – the Second repertoire, including the Golden Hall aristocracy. The grandeur of its opera Viennese School of Schoenberg, Berg, of the Vienna Musikverein, where houses and the Emperor’s customary and Webern – did away with tonality the annual New Year’s Concert with fondness for music att racted altogether. However much atonality the Vienna Philharmonic is telecast musicians, singers and composers came to rule the academic roost, internationally. to Vienna. In addition, the Austro- audiences have never recovered from Hungarian Empire was a polyglot, the shock. Johann Strauss Jr. multi-ethnic conglomeration – a Tales from the Vienna fertile source of musical ideas in folk The First World War ushered in a idioms. momentous decline in Vienna’s status. Woods, Op. 325 The Central Powers’ defeat in the First In the late 18th and early 19th World War disbanded the Austro- Born into a family of musicians who centuries, composers who sought Hungarian Empire. Glorious Vienna dominated the court life of Vienna fame and success in Vienna now presided only over a truncated during the waning years of the included Josef Haydn, Wolfgang Austria. World politics set the city’s Hapsburg Empire, Johann Strauss Jr. Amadeus Mozart and Ludwig van cultural life up for even worse disaster (1825-99) earned the sobriquet “The Beethoven. Their accomplishments during World War II. What had been Waltz King” during his lifetime. The increased Vienna’s renown among a center for the imagination and dance’s ascendency from humble musicians all over Europe. The creativity of the human mind was village origins to a pleasure of mid-19th century saw the creation seen as nothing more than a Nazi fashionable Viennese society was of a distinctively Viennese operett a sympathizer stronghold. Years of largely thanks to the performing style by Franz von Suppé and the cultural success were forgott en and and composing talents of the Strauss popularization of the waltz , most destroyed in the horrors of Anti- dynasty. Strauss the Younger, as notably by Johann Strauss Jr. In the Semitism, purging of the arts, and he was sometimes called, brought Lessons - Supplies - Rentals 425-369-9333 4532 Klahanie Dr SE plateaumusicIssaquah, WA 98029

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6 the form to its peak in popularity. The score of Tales from the Vienna Wood made an especially weak impression, He stands as history’s most exalted calls for two fl utes and piccolo, 2 oboes, 2 and in fact was almost totally composer in this medium and clarinets, 2 bassoons, 4 horns, 3 trumpets, ignored until after Beethoven’s remains possibly the most popular timpani, percussion (snare drum, triangle, death. General discomfort in the Viennese composer of all time. bass drum and cymbal), harp, zither and unheated hall during a very long Strauss composed over 500 waltz es, strings. program may have been at work, polkas, quadrilles and other types but the innovative features of the of dance music, as well as several Ludwig van Beethoven work’s construction and content operett as and a ballet. Besides Tales were probably the principal from the Vienna Woods, his most Piano Concerto No. 4 cause. The prodigious young Felix famous works include The Blue in G Major, Op. 58 Mendelssohn, who performed Danube, Kaiser-Walzer,Tritsch- similar rescue service for other Tratsch Polka and Pizzicato In 1792, Ludwig van Beethoven (1770- neglected masterworks, rescued Polka. Among his operett as, Die 1827) came to Vienna to study with Josef the concerto from its undeserved Fledermaus and Der Zigeunerbaron Haydn and thereafter made the city his oblivion and established it in are the best known. home base. Widely recognized in our its rightful place in the musical time as one of the greatest composers pantheon. Composed in 1868, the immediate (if not the greatest) of the Western popularity of Tales from the Vienna European music tradition, Beethoven’s If brilliance is the hallmark of Woods (original title G’schichten aus work crowned the classical period and Beethoven’s three earlier piano dem Wienerwald) confi rmed the pre- initiated the romantic era in music. concertos and grandeur in the last eminence of the composer and his (the “Emperor”), the character of chosen musical form. The title of the The Fourth Piano Concerto dates from this one is serenity. The intimate waltz harks back to its village origins. Beethoven’s middle period. These years character that prevails throughout Like many of his compositions, this also saw completion of the Fourth, the work makes itself felt in the waltz begins with an introduction, Fifth and Sixth Symphonies, Fifth Piano opening, stated by the piano but at 119 bars, this is one of the Concerto, Violin Concerto and fi rst two alone. The quiet self-confi dence longest Strauss ever wrote for a versions of Fidelio, among other works. of the opening gesture distances waltz . The waltz picks up after a Beethoven composed the concerto this concerto from Beethoven’s fl ute cadenza suggesting a bird-song from 1805 to 1806 and performed it in a earlier ones. The orchestra enters in the woods. In the original score, this is followed by a part featuring private concert in Vienna before giving understatedly at fi rst. After a a zither, commonly associated with the public premiere at the Theater an swelling tutt i, the piano returns as folk music. (In today’s performance, der Wien on December 22, 1808 along the principal actor. Only once in the the strings substitute for the zither.) with the premieres of several other of fi rst movement does the piano assert There are allusions to the German/ his compositions. This piano concerto its authority by raising its volume, Austrian Ländler folk dance during was the last such work Beethoven when it reiterates the principal theme the zither part, before the familiar composed for his own use, owing to his to initiate the recapitulation, and waltz rhythm returns. escalating deafness. This concerto is one then almost at once the fortissimo of the several major works Beethoven dissolves to piano (soft) and dolce Successive waltz sections follow in dedicated to his friend, pupil and patron (sweet). alternating keys of B-fl at and E-fl at the Archduke Rudolph. major. After a short coda, the fi rst Franz Liszt compared the slow waltz makes a reprise. A crescendo According to visiting composer Johann movement with the story of and accelerando in the fi nal bars Friedrich Reichardt, the audience at the Orpheus taming the wild beasts in conclude the piece with a fl ourish pubic premiere did not care for much Hades. Brusque unison strings are and drum roll. of the new music. The Fourth Concerto met with a fl owing and calming

7 response from the soloist. Only at music draws ardent audiences, and in the score. When he conducted his the end of the movement is the piano musicologists study and edit his scores. First Symphony in Hamburg in 1893, heard without the soft pedal and he sought to make it more accessible by the strings abandon unison for a The number of compositions in giving descriptive titles to the work as restrained closing statement. Mahler’s collected oeuvre is relatively a whole (Titan), its two large divisions small, certainly compared for example and each individual movement. Energy in abundance characterizes to Mozart, Beethoven or Stravinsky: Eventually Mahler abandoned the the concluding rondo, marked also Nine symphonies (and a tenth notion of using any titles at all, and by entry of trumpet and timpani. The unfi nished), seven vocal works and from 1894 onward he called the work theme is stated briefl y by the strings a piano quartet writt en as a student simply “Symphony in D major (No. and then taken up by the piano, work. Absent are the staples of other 1).” which also introduces the equally composers – concerti, opera, ballet lively second theme. Although the music and sonatas. But Mahler’s Curiously, though, for the occasion melody is robust and high-spirited, existing works, especially his massive of the Viennese premiere in 1900, the atmosphere of soloist and symphonies, stand imposingly like the Mahler permitt ed his confi dante orchestra remains reserved – power high Himalayas. Natalie Bauer-Lechner to give the shown by way of subtle suggestions critic Ludwig Karpath a fairly detailed of greater resources judiciously held Like Charles Ives in the US (whom program for the work. This program in check. A brief coda concludes the Mahler met and esteemed), Mahler’s described “a strong, heroic man, his work rambunctiously. symphonies integrate a large life and suff erings, his batt les and pastiche of melodies and colors defeat at the hands of Fate,” a scenario In addition to the solo piano, the score of from his environment – klezmer and “conceived and composed from the Piano Concerto No. 4 calls for 1 fl ute, 2 gypsy music from the villages of standpoint of a defenseless young man oboes, 2 clarinets, 2 bassoons, 2 horns, 2 his Bohemian childhood, sounds who easily falls prey to any att ackers.” trumpets, timpani and strings. of nature at his composing retreats, A synopsis of the program by Richard military bands and urban night Freed describes the four movements as Gustav Mahler sounds of Vienna. Yet the unifying follows: force in Mahler’s compositions is his Symphony No. 1 personality, his perspective on the The fi rst movement evokes a in D Major world. As Leonard Bernstein wrote, “Dionysian feeling of jubilation . . . in “all of Mahler’s music is about Mahler the midst of Nature, in a forest where Best known in his lifetime as a – which means simply that it is about the sunlight of a lovely day sparkles leading orchestral and operatic confl ict. … [T]he batt le rages between and shimmers.” The sprightly tune conductor, Gustav Mahler’s (1860- Western Man at the turn of the century that grows out of the mysterious 1911) compositions were never and the life of the spirit. Out of this opening is that of “Ging heut’ morgen fully understood or accepted by the opposition proceeds the endless list of übers Feld,” the fi rst of the Mahler’s musical establishment in Vienna antitheses – the whole roster of Yang Wayfarer songs. At the end “the hero (and were banned outright during and Yin – that inhabit Mahler’s music.” bursts out laughing and runs away.” the Third Reich). Mahler himself realized this and said, “My time Composition of his First Symphony In the second movement “the young will yet come.” Mahler is now occupied Mahler from 1885 to 1888; he man roams about the world in a more acknowledged as one of the most conducted the premiere in Budapest robust, strong and confi dent way.” important late-romantic composers, on November 20, 1889, and revised This is more or less a scherzo, in the his works are regularly performed the score four times between then and form of a Ländler, the rustic Austrian and recorded by the leading 1907. Over the years, Mahler ran hot forerunner of the waltz . In the trio orchestras around the world, his and cold about using descriptive titles Mahler borrows from another of his

8 own songs (not part of the Wayfarer cycle), “Hans und Grethe.”

The Funeral March in the third movement is not so much a lament as a picture of “biting irony,” in which “all the coarseness, the mirth and the banality of the world are heard in the sound of a Bohemian village band, together with the hero’s terrible cries of pain.” The movement’s dying measures are broken off by the “terrifying shriek” that brings on the fi nale, an eruption Mahler described further as “the outburst of a wounded heart.”

In a lett er to Bruno Walter, his former assistant and subsequently his chief advocate, Mahler wrote, “Both the Funeral March and the storm that breaks out immediately afterward strike me as burning accusations hurled at the Creator.” According to the 1900 scenario, the hero is exposed to the most fearful combats and to all the sorrows of the world. He and his triumphant motifs are “hit on the head again and again” by Destiny. Only when he has triumphed over The Sammamish Symphony death, and when all the glorious memories of youth have returned would like to thank with themes from the fi rst movement, does he get the upper hand, and Gordon Brown there is a great victorious chorale! and the

The score of Symphony No. 1 calls Gordon Brown for 4 fl utes and 2 piccolos, 4 oboes Foundation and English horn, 3 clarinets, piccolo clarinet and bass clarinet, 3 bassoons for the generous contribution for and contrabassoon, 7 horns, 4 trumpets, music to build the Symphony’s 3 trombones, tuba, timpani, percussion (bass drum, crash cymbals, suspended library. Gordon has been an active cymbal, triangle and tam-tam), harp and member and contra-bassoon player strings. with the symphony for many years.

ADD A TOUCH OF CLASS TO YOUR PARTY OR EVENT. FOR INFO CALL The Sammamish Symphony Orchestra off ers small chamber groups for private functions. 206-517-7777

9 10 Contributors In addition to the following donors we gratefully acknowledge those individuals and families who purchased donated goods and services at our Sammamish Symphony Auctions.

PATRONS ($1,000+) BENEFACTORS ($500-999) SPONSORS ($100-499) SUPPORTERS ($25-99)

Sandy Anuras Anonymous (King County Employee) Arthur and Lora Lee Allan Lisa Bergman The Boeing Company David Campbell Ann and John Backman Verna Borup The Charles Maxfi eld and Gloria F. Shelby Eaton Alethia Barnes Rena Brady Parrish Foundation Bob and Cathy Grindle Armand and Claudia Binkhuysen Debbie Brownfi eld Preben & Ruth Hoegh-Christensen King County Employee Giving Program David Brooks CeCilio Di Gino Andrew Coldham Kevin and Lynne Martinell Dennis Calvin Jonathan Feil Expedia Kenneth Morse Bischofb erger Violins Bill Ferensen Gordon Brown Foundation Estate of Eleanor Nein Kristen Edlund John Ferensen Pat and Allyn Hebner Herman & Myrl Venter Don and Sue Gerend Margaret Fiveash King County 4Culture Heather Holmback Dr. Martin Hanson Florian LaPlantif Judith Johnson Jessica Lorant Microsoft Corporation Joel and Catherine LaPlantif Jose Pantoja Skip Rowley Nels H. Magelssen and Evelyn M. Zeller Judy Peterson Rowley Properties Donna Mansfi eld Issam Rashid City of Sammamish Ted and Lenore Martinell David and Penny Short David Van Moorhem Carol Stewart Pauline Miller Linda Thomas Leslie Nielson Tom and Mary Lynn Vance Janis Orrico Fran and Dan Pope R. Joseph Scott N. Jayne Marquess and Peter Sefton Robert Schneble Stamen and Denitsa Stoychev Ron and Cheryl Tanneberg David Barnes and Melissa Underhill Dan and Marianna Vail Dorothy Wendler Mark and Linda Wiseman

YOU CAN NOW DONATE ONLINE VIA PAYPAL ON OUR WEBSITE AT www.sammamishsymphony.org

We are seeking donations from supporters like you to help us sustain and expand our programs. Please join the generous individuals and organizations who have provided support to enable us to make the music our audiences love to hear. All contributions are tax-deductible. Please contact one of our representatives about how you can help. To the Many Supporters of the Sammamish Symphony Orchestra, THANK YOU! Acknowledgements

Many people have worked together to make our community orchestra possible. They have given of their time, talent, and energy. Thank you!

Facilities Refreshments Meydenbauer Center Rehearsal Space Safeway/Costco Eastlake High School Bellevue Christian School Klahanie QFC/Pine Lake QFC

Piano Program Notes Percussion Equipment Sherman Clay Jonathan Feil Marianna Vale, Beaver Lake Middle School The City of Sammamish Volunteer Network Program Design & Layout Recording Engineer Emaugo Creative Bill Levey

The Sammamish Symphony Orchestra Association (SSOA) is a Non-Profi t Corporation under Section 501(c)(3) of the Internal Revenue Service. For further information, contact the SSOA: P.O. Box 1173, Issaquah, WA 98027 www.sammamishsymphony.org (206) 517-7777

11 2012-2013 - ProgramCover.ai 1 8/31/2012 1:27:56 PM 2012 ~ 2013 Season Slice of Vienna

Sunday Friday & Sunday Sunday December 7th, 2012, 7:30 PM th th October 28 , 2012, 2:00 PM Meydenbauer Theatre February 24 , 2013, 2:00 PM Eastlake Performing Arts Center December 9th, 2012, 2:00 PM Eastlake Performing Arts Center Eastlake Performing Arts Center 2012 2012 2013 OCTOBER DECEMBER FEBRUARY

Sounds of Russia

Sunday Sunday th th April 7 , 2013, 2:00 PM June 9 , 2013, 2:00 PM Meydenbauer Theatre Eastlake Performing Arts Center 2013 2013 JUNE JUNE For more information please visit www.SammamishSymphony.org Thank you to our generous sponsors.

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