JANUARY 2020 JANUARY THOMAS DAUSGAARD, MUSIC DIRECTOR

ELISA CITTERIO conducts and plays music from the Italian Baroque

WORLD PREMIERE Elena Langer’s Figaro Gets a Divorce Suite

ALSO THIS MONTH Thomas Zehetmair Beethoven Violin Concerto Rick Steves’ Europe: A Symphonic Journey 19 CONTENTS JANUARY 2020

4 / Calendar 6 / The Orchestra 46 / Benaroya Hall Guide

FEATURES

5 / Community Connections 7 / Meet the Musicians 10 / On a High Note 12 / Florence B. Price’s Violin Concerto No. 2 47 / The Lis(z)t

CONCERTS

14 / January 9, 10 & 11 Beethoven Emperor Concerto 20 / January 10 Beethoven & Franck 24 / January 15 Itzhak Perlman in Recital 29 / January 16, 18 & 19 Thomas Zehetmair Beethoven Violin Concerto JEAN-EFFLAM BAVOUZET 35 / January 17 & 21 Photo: B Ealovega Photo: Rick Steves’ Europe: 14 A Symphonic Journey 36 / January 24 & 25 Italian Baroque

ELENA LANGER THOMAS ZEHETMAIR 14 Faccinetto Pablo Photo: 29

ON THE COVER: Elisa Citterio by Monica Cordiviola COVER DESIGN: Stephanie Tucker EDITORS: Rachel Spain, Heidi Staub

© 2020 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.

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

SUNDAY MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY SATURDAY

3 & 7:30pm 1 Tribute to Billie Holiday SEATTLE REPERTORY JAZZ ORCHESTRA

8pm Shostakovich Violin Concerto No. 1 SEATTLE SYMPHONY

8pm 2 7pm 3 4 7:30pm 5 7:30pm 6 10:30am 7 9:30, 10:30 & 11:30am88 An Intimate Catholic Choir Gidon Kremer in Dvořák Symphony The Woodwinds: The Woodwinds: Evening with Sarah Festival Recital No. 8 Peter and the Wolf Peter and the Wolf McLachlan ARCHDIOCESE OF SEATTLE SYMPHONY SEATTLE SYMPHONY SEATTLE SYMPHONY SEATTLE SYMPHONY LIVE NATION SEATTLE 7:30pm 7pm 7:30pm Loudon Dvořák Untuxed Rise Up — The Wainwright III SEATTLE SYMPHONY Hamilton Tribute LIVE @ BENAROYA Band HALL LIVE @ BENAROYA HALL 7:30pm Nicholas Kristof & 8pm Sheryl WuDunn Dvořák Symphony SEATTLE ARTS & No. 8 LECTURES SEATTLE SYMPHONY

2pm 9 7:30pm 10 7pm 11 12 13 8pm 14 9:30 & 11am 15 Designed By Nature Designed By Nature Community Concert The Best of First Concerts: NATIONAL NATIONAL in Haller Lake Quincy Jones Meet the Violin GEOGRAPHIC LIVE GEOGRAPHIC LIVE SEATTLE SYMPHONY SEATTLE SYMPHONY SEATTLE SYMPHONY

6pm 7:30pm 2pm Difficult Grace: Designed By Nature Ode to Joy Seth Parker Woods NATIONAL CANTARE VOCAL in Recital GEOGRAPHIC LIVE ENSEMBLE SEATTLE SYMPHONY 8pm 7pm The Best of Quincy Baroque Bacchanalia Jones BYRON SCHENKMAN & SEATTLE SYMPHONY FRIENDS

2pm 16 8pm 17 7:30pm 18 7:30pm 19 20 8pm 21 11am 22 The Best of Quincy Yundi · Sonata 2020 Time For Three Terry Riley Brandi Carlile Family Concerts: Jones Piano Recital World with the Seattle LIVE @ BENAROYA with the Seattle Wonder Women SEATTLE SYMPHONY Tour in Seattle Symphony HALL Symphony: Right SEATTLE SYMPHONY VISM SEATTLE SYMPHONY Now Is At The Speed Of Light 8pm SEATTLE SYMPHONY Brandi Carlile with the Seattle Symphony: Right Now Is At The Speed Of Light SEATTLE SYMPHONY

7:30pm 23 24 7pm 25 12pm 26 7:30pm 27 12pm 28 8pm 29 Brandi Carlile Community Concert Community Concert Mozart Concerto for Mozart Concerto for Mozart Concerto for with the Seattle in Renton at Seattle City Hall Two Pianos Two Pianos Two Pianos Symphony: Right SEATTLE SYMPHONY SEATTLE SYMPHONY SEATTLE SYMPHONY SEATTLE SYMPHONY SEATTLE SYMPHONY Now Is At The Speed Of Light 10pm SEATTLE SYMPHONY [untitled] 2 SEATTLE SYMPHONY

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

4 SEATTLESYMPHONY.ORG LOOKING AHEAD: PERFORMANCE SPACE: ON THE DIAL: Tune in to Classical KING ■ COMMUNITY ■ S. MARK TAPER FOUNDATION AUDITORIUM FM 98.1 every Wednesday at 8pm for a ■ ILLSLEY BALL NORDSTROM RECITAL HALL Seattle Symphony spotlight and the first CONNECTIONS FEBRUARY ■ OCTAVE 9: RAISBECK MUSIC CENTER Friday of every month at 9pm for concert ■ SAMUEL & ALTHEA STROUM GRAND LOBBY broadcasts. AT BENAROYA HALL ■ SYMPHONY EVENTS AWAY FROM THE HALL Seattle Education SUNDAY MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY SATURDAY Access

3 & 7:30pm 1 Tribute to Billie Holiday SEATTLE REPERTORY JAZZ ORCHESTRA

8pm Shostakovich Violin Concerto No. 1 SEATTLE SYMPHONY

8pm 2 7pm 3 4 7:30pm 5 7:30pm 6 10:30am 7 9:30, 10:30 & 11:30am88 An Intimate Catholic Choir Gidon Kremer in Dvořák Symphony The Woodwinds: The Woodwinds: Seattle Education Access assists marginalized Evening with Sarah Festival Recital No. 8 Peter and the Wolf Peter and the Wolf youth and young adults in gaining entry into McLachlan ARCHDIOCESE OF SEATTLE SYMPHONY SEATTLE SYMPHONY SEATTLE SYMPHONY SEATTLE SYMPHONY LIVE NATION SEATTLE colleges and completing degrees, providing 7:30pm 7:30pm 7pm them with the resources they need to Loudon Dvořák Untuxed Rise Up — The Wainwright III SEATTLE SYMPHONY Hamilton Tribute transition successfully to college in order to LIVE @ BENAROYA Band HALL LIVE @ BENAROYA finish their educations, leave poverty behind HALL and contribute to society. 7:30pm Nicholas Kristof & 8pm Sheryl WuDunn Dvořák Symphony Seattle Education Access is one of nearly SEATTLE ARTS & No. 8 80 partners in the Seattle Symphony’s LECTURES SEATTLE SYMPHONY Community Connections program which provides complimentary tickets to nonprofit 2pm 9 7:30pm 10 7pm 11 12 13 8pm 14 9:30 & 11am 15 Designed By Nature Designed By Nature Community Concert The Best of First Concerts: organizations across the Puget Sound region. NATIONAL NATIONAL in Haller Lake Quincy Jones Meet the Violin GEOGRAPHIC LIVE GEOGRAPHIC LIVE SEATTLE SYMPHONY SEATTLE SYMPHONY SEATTLE SYMPHONY The Seattle Symphony has partnered with Seattle Education Access since the 6pm 7:30pm 2pm Difficult Grace: Designed By Nature Ode to Joy 2012–2013 season. Seth Parker Woods NATIONAL CANTARE VOCAL in Recital GEOGRAPHIC LIVE ENSEMBLE “Our group had a fantastic time at the SEATTLE SYMPHONY Symphony! It was a really great opportunity for 8pm 7pm The Best of Quincy a couple of our volunteers and a couple of our Baroque Bacchanalia Jones students to connect and enjoy music together. BYRON SCHENKMAN & SEATTLE SYMPHONY FRIENDS They found that enjoying the Symphony together sparked conversations that they wouldn’t have otherwise had, and connected 2pm 16 8pm 17 7:30pm 18 7:30pm 19 20 8pm 21 11am 22 The Best of Quincy Yundi · Sonata 2020 Time For Three Terry Riley Brandi Carlile Family Concerts: around their mutual appreciation.” Jones Piano Recital World with the Seattle LIVE @ BENAROYA with the Seattle Wonder Women SEATTLE SYMPHONY Tour in Seattle Symphony HALL Symphony: Right SEATTLE SYMPHONY – Representative from VISM SEATTLE SYMPHONY Now Is At The Speed Of Light 8pm Seattle Education Access SEATTLE SYMPHONY Brandi Carlile with the Seattle Symphony: Right Now Is At The Speed Of Light THE MAN BEHIND A LEGEND WEST COAST PREMIERE! SEATTLE SYMPHONY What if you could realize one last dream before you die? While the body of tormented bebop In English with English subtitles. innovator Charlie “Yardbird” Parker lies Evenings 7:30 PM unidentified in a New York City morgue, his ghost Sundays 2:00 PM travels back to the heyday of Birdland, the jazz 7:30pm 23 24 7pm 25 12pm 26 7:30pm 27 12pm 28 8pm 29 Featuring members of Seattle Brandi Carlile Community Concert Community Concert Mozart Concerto for Mozart Concerto for Mozart Concerto for club named after him. As he struggles to with the Seattle in Renton at Seattle City Hall Two Pianos Two Pianos Two Pianos complete his final masterpiece, the legendary Symphony Orchestra. Symphony: Right SEATTLE SYMPHONY SEATTLE SYMPHONY SEATTLE SYMPHONY SEATTLE SYMPHONY SEATTLE SYMPHONY CONNECT WITH US: saxophonist revisits the demons, inspirations, Now Is At The Speed MCCAW HALL Of Light 10pm Share your photos using #ListenBoldly and and women who have fueled and hindered his SEATTLE SYMPHONY [untitled] 2 creative genius. 206.389.7676 SEATTLE SYMPHONY follow @seattlesymphony on Facebook, Instagram, Twitter and Snapchat. Download 2019/20 SEASON SPONSOR: the Listen Boldly app to easily purchase SEATTLEOPERA.ORG/YARDBIRD IN MEMORY OF KARYL WINN tickets, skip the Ticket Office lines and receive PRODUCTION SPONSORS: TAGNEY JONES FAMILY FUND AT exclusive offers. SEATTLE FOUNDATION, OFFICE OF TICKETS START AT JUST $35 ARTS & CULTURE | SEATTLE

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

encorespotlight.com 5 ■ ABOUT THE SEATTLE SYMPHONY

THOMAS DAUSGAARD MUSIC DIRECTOR

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

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

SEATTLE SYMPHONY ROSTER

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

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

6 SEATTLESYMPHONY.ORG ■ 

Photo courtesy of Judy Washburn Kriewall and raccoonswhoenjoyittoo. at BenaroyaHall,Judyenjoysworking onherlargegarden—andfendingoffthelocalbears,deer Today JudylivesinIssaquahwithherhusband, Dave, andtheirdog,Sonja. Whenshe’s not playing learning fromeachother.” emotional release. Myfavoritepart,however, ismakingmusictogether, listeningtoeachother, and playing withtheorchestraeversince. “Ithinkmusicreachesadeeperpartofus.We needitforthe The rest,astheysay, ishistory. JudystartedwiththeSeattleSymphony in1980andhasbeen why nottryit?Thatmadeallthedifferencebecauseithelpedme believe thatIcoulddoit.” pursued acareerasanorchestralfluteplayer. “HetoldmeIhadasgoodachanceanybody, so encouragement fromherteacheratNorthwesternUniversity, Walfrid Kujala, shemightnothave Judy saysthelatestartofherformaltraining,however, wasalsohergreatestchallenge. Without recalls. “And whenIthinkback aboutit,I’mgladshewas.Alotofitwassimplynatural.” the flute. “Therewasonlyoneteacherinthearea,andshefull.Ineverhadlessons,” Judy Her pathtotheorchestrastartedlaterthanmost.GrowingupinIllinois,shetaughtherselfplay today isfantastic,it’s soexciting.” as theorchestrawasstartingamajoreraofchange,” shesays.“And it’s stillgrowing,thelevel making heroneofthelongest-playingmembersorchestra.“Istartedatareallyexciting time, Judy Washburn KriewallhasbeenplayingflutewiththeSeattle Symphony fornearly40years, Flute Judy Washburn Kriewall MEET THEMUSICIANS

the go At the encorespotlight.com performing arts. performing show or on Encore isyour companion to Seattle’s encorespotlight.com

7 ABOUT THE SEATTLE SYMPHONY

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

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

SEATTLE SYMPHONY BOARD OF DIRECTORS

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

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

SEATTLE SYMPHONY FOUNDATION BOARD OF DIRECTORS

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

BENAROYA HALL BOARD OF DIRECTORS

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

8 SEATTLESYMPHONY.ORG SEATTLE SYMPHONY | BENAROYA HALL ADMINISTRATIVE STAFF

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

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

encorespotlight.com 9 ON A HIGH NOTE FREE NEWS FROM THE SYMPHONY CONCERTS

Welcome to Benaroya Hall! Here at the Symphony we’re looking forward to another year of sharing live music with our city and community. I’m personally very excited about so many remarkable upcoming concerts, so I’d like to share a couple of highlights so you can get tickets too. On January 30 and February 1 Thomas Dausgaard

leads the orchestra and Patricia Kopatchinskaja Crooks Jenny Photo: in Shostakovich’s First Violin Concerto. You’ll also hear Grieg’s Peer Gynt Suite No. 1 and the next Every year the Seattle Symphony installment in our Nielsen recording series with performs free Community Concerts Thomas: Symphony No. 1. Last year the Seattle around the Puget Sound region as a Symphony was nominated for a Best Orchestral part of our mission to increase access to Performance Grammy Award for Nielsen’s Third live performances and to bring people and Fourth Symphonies, so you’ll want to be there for the live performance of together to connect with their community. Nielsen’s Symphony No. 1, which we’ll release on the Seattle Symphony Media label Join us for these upcoming concerts! in June. For a completely unique and very intimate experience, hear Patricia Kopatchinskaja ■ Thursday, January 23, at 7pm in recital on January 29 in our new, fully immersive performance space, Octave 9: COMMUNITY CONCERT Raisbeck Music Center. There is no performance venue like it — combining state- IN TUKWILA of-the-art technology with astounding acoustics — a perfect setting to hear this at Foster Performing Arts Center remarkable artist. Lee Mills, conductor Yvette Kraft, violin On February 6 and 8 Thomas Dausgaard conducts Gidon Kremer in Weinberg’s Violin Concerto alongside Dvořák’s Symphony No. 8 and Tchaikovsky’s Romeo ■ Tuesday, February 11, at 7pm and Juliet Fantasy Overture. Gidon Kremer is one of the most inspirational and SIDE-BY-SIDE WITH original artists of his generation and, once again, you can also hear him in recital in CASCADE YOUTH Octave 9 on February 5. SYMPHONY ORCHESTRA Bring your kids, grandkids, friends’ kids or just yourself to the Wonder Women at Shorecrest Performing Arts Center Family Concert on February 22. Our talented Conducting Fellow, and Sir Georg Lee Mills, conductor Solti Conducting Apprentice winner, Lina Gonzalez-Granados will conduct the Gerry Marsh, conductor orchestra and the Seattle Symphony’s own Principal Second Violin Elisa Barston in this fun and empowering concert featuring music by Amy Beach, Lili Boulanger, ■ Tuesday, February 25, at 7pm Ruth Crawford Seeger and Florence Price. COMMUNITY CONCERT IN RENTON Keep an eye out next month for the 2020–2021 season announcement. Next at Renton IKEA Performing Arts Center season is filled with music you won’t want to miss, so you’ll want to renew your Lee Mills, conductor subscription right away. Minsoo Kwon, flute Thanks for joining us today, and I hope to see you at Benaroya Hall again soon. ■ Wednesday, February 26, at 12 noon René Ancinas COMMUNITY CONCERT Board Chair IN SEATTLE at Seattle City Hall Lee Mills, conductor Minsoo Kwon, flute

NOTA BENE Find out more at GET YOUR BEETHOVEN FEST TICKETS The Symphony is gearing up for Beethoven Fest seattlesymphony.org/inthecommunity. in June. Over three weeks, the orchestra will perform all nine symphonies alongside The Seattle Symphony’s Community Concerts music created, inspired or performed by the community. Come to one concert or come are made possible with support from 4Culture, to them all! This is an event you won’t want to miss. the Seattle Office of Arts & Culture and Seattle seattlesymphony.org/beethoven-festival Symphony donors.

BRING YOUR KIDS FOR FREE Share your love of music with the young people in your life through Family Connections. Get up to two free Family Connections tickets for kids 8–18 when you buy a regularly priced Masterworks, Pops or Untuxed ticket over the phone or in-person at the Ticket Office.

10 SEATTLESYMPHONY.ORG Bischofberger January 2020 | Volume 33, No. 5 Violins est. 1955 Professional Repairs Appraisals & Sales Saint Mark’s VEHICLES 2019-2020 FOR 1314 E. John St. VARIATION Seattle, WA MUSIC 206-324-3119 SERIES Beloved Chaconnes for String and Organ www.bviolins.combviolinsltd.com saintmarks.org/concerts

BV 071811 repair 1_12.pdf Free!COMMUNITY CONCERTS The Seattle Symphony in your neighborhood

THURSDAY, JANUARY 23, at 7PM Community Concert in Tukwila Foster Performing Arts Center PAUL HEPPNER President Lee Mills conductor | Yvette Kraft violin | Seattle Symphony MIKE HATHAWAY Senior Vice President KAJSA PUCKETT Vice President, Sales & Marketing TUESDAY, FEBRUARY 11, at 7PM GENAY GENEREUX Accounting & Side-by-Side Concert with Cascade Office Manager Youth Symphony Orchestra Production Ingraham Performing Arts Center SUSAN PETERSON Vice President, Production Lee Mills | Gerry Marsh JENNIFER SUGDEN Assistant Production conductor conductor Manager Cascade Youth Symphony Orchestra | Seattle Symphony ANA ALVIRA, STEVIE VAN BRONKHORST Production Artists and Graphic Designers TUESDAY, FEBRUARY 25, at 7PM Sales Community Concert in Renton MARILYN KALLINS, TERRI REED Renton IKEA Performing Arts Center San Francisco/Bay Area Account Executives Lee Mills conductor BRIEANNA HANSEN, SHERRI JARVEY, Minsoo Kwon | Seattle Symphony ANN MANNING Seattle Area flute Account Executives CAROL YIP Sales Coordinator WEDNESDAY, FEBRUARY 26, at 12NOON Marketing Community Concert at Seattle City Hall SHAUN SWICK Brand & Creative Manager Lee Mills conductor CIARA CAYA Marketing Coordinator Minsoo Kwon flute | Seattle Symphony

Encore Media Group The Seattle Symphony’s Family, School & Community 425 North 85th Street • Seattle, WA 98103 programs are supported by 4Culture, the League of American 800.308.2898 • 206.443.0445 Orchestras, The Merriman Family, the Muckleshoot Indian [email protected] Tribe, Music4Life, Music Works Northwest, the National encoremediagroup.com Endowment for the Arts, Peach Foundation, the Seattle Office of Arts & Culture and Ten Grands Seattle. Encore Arts Programs and Encore Stages are published monthly by Encore Media Group to serve performing arts events in the San Francisco Bay Area and Greater Seattle Area. All rights reserved. ©2019 Encore Media Group. Reproduction without written permission is prohibited. FREE ADMISSION (RSVP ENCOURAGED) seattlesymphony.org

encorespotlight.com 11 Photo: Florence Price (University of Arkansas Libraries, Special Collections) NEW SOUNDS FROM A FAMILIAR FACE: FLORENCE B. PRICE’S VIOLIN CONCERTO NO. 2 By A. Kori Hill

As Vicki and Darrell Gatwood renovated Florence Price’s former summer home in 2009, they were initially unaware of the home’s previous owner. But they recognized her presence immediately. Her name was everywhere: on books, manuscripts, sheet music — these were not items to be tossed aside. Their decision to contact two University of Arkansas-Fayetteville archivists led to the reintegration of a segment of Price’s repertoire, including the Violin Concerto No. 2, that had gone unaccounted for decades.

12 SEATTLESYMPHONY.ORG Eleven years after the rediscovery of the and collaborated with Price on multiple and brass instruments to create a warm, concerto’s manuscript, the Seattle Symphony occasions; and Marian Anderson, a world- round timbre; and creative ways to bring will give their debut performance of Price’s renowned classical vocalist and collaborator familiar material in conversation with new Second Violin Concerto on March 12 who regularly programmed and recorded polyphonic settings. and 14, 2020. Price’s art songs and concert spirituals. Price’s Violin Concerto No. 2 was performed Florence Price (1887–1953) was born Price’s Symphony in E minor (1931), winner by its dedicatee, Minnie Jernberg, in 1955 to music teacher and real estate agent of the Wanamaker Competition’s symphony and 1964. The 1964 performance was part Florence Gulliver and dentist James Smith category, was programmed by the Chicago of the opening celebration for the Florence in Little Rock, Arkansas. She came of age Symphony Orchestra in 1933, the first time a B. Price Elementary School, a Chicago during “the nadir of Reconstruction,” a major ensemble performed a symphony by a public school that closed in 2011. After the period where the newly acquired rights of Black American woman. The next year, Price rediscovery of the manuscript, the concerto African Americans were being systemically performed her Concerto in One Movement was recorded by Er-Gene Kahng and the dismantled through the passage of Jim Crow with the Woman’s Symphony Orchestra Janáček Philharmonic for the first time laws. Amid these encroaching limitations of of Chicago. in 2018. their rights, her parents ensured that Price received the best education possible, which Price was part of a generation of Black For some, the current increase in included support of her musical interests. composers who recognized the rich programming by mainstream ensembles repository of Black folk music. Drawing from is a sign that Florence Price’s music is Price graduated from the New England spirituals and juba dance, two traditions undergoing a renaissance. For others, she Conservatory of Music (NEC) in 1906. While originating in the enslavement period, Price is once again receiving overdue attention. pursuing degrees in organ performance and explored the structural potential of African Musicians, scholars and organizations like piano pedagogy, she studied composition American harmonies, rhythmic structures NANM have been performing, studying with Frederick Converse and NEC’s music and methods of quotation in Western and discussing her music since the 1930s. director, composer George Chadwick. Her classical genres. Her art songs, concert Florence Price is not being rediscovered. career was multifaceted, spanning roles as spirituals, character pieces, concertos and Rather, the network of musicians who know composer, performer, teacher, administrator, symphonies reflected creative decisions her repertoire is growing and will hopefully wife and mother. Her relocation to Chicago that were individually driven and politically lead to sustained programming and in 1927 with her then husband and two significant: an exploration of creative ideals, enjoyment of her music for decades daughters put her in the midst of an active Black Americans’ past in visions of their to come. classical community in Chicago’s South Side. present and the creation of the music she wanted to hear. She joined the Chicago branches of The A. Kori Hill is pursuing a PhD in National Association of Negro Musicians The Violin Concerto No. 2 (1952) has four musicology at the University of North (NANM), an organization founded in 1919 sections that contain introductory, primary Carolina at Chapel Hill. Her dissertation to support the professional needs of Black and secondary themes that appear in studies the concertos of Florence Price classical musicians. She also broke the each section set to different textures. The in the context of early 20th century Black color line of two Chicago music clubs: the repetition of each theme in new contexts modernist thought and expression. She is Musicians Club of Women and the Chicago reflects Price’s engagement with standard the Director of Social Media for the Harry Club of Women Organists. She forged elements from the spiritual genre. The T. Burleigh Society and enjoys reading, connections with important individuals: primary theme features rhythmic and watching movies and Instagramming in Estella Bonds, a musician whose home harmonic elements from juba dance, and her spare time. was an intellectual center for local and the secondary theme showcases aspects visiting Black artists; her daughter, Margaret of Price’s style: the orchestra as a duet Bonds, a pianist and composer who studied partner for the soloist; the pairing of strings Get your tickets for Florence Price’s Violin Concerto No. 2 with Elisa Barston and the Seattle Symphony on March 12 and 14 at seattlesymphony.org or by calling the Seattle Symphony Ticket Office at “Florence Price is not being rediscovered. 206.215.4747. Rather, the network of musicians who know her repertoire is growing and will hopefully lead to sustained programming and enjoyment of her music for decades to come.”

encorespotlight.com 13 1/9–11 THURSDAY, JANUARY 9, 2020, AT 7:30PM FRIDAY, JANUARY 10, 2020, AT 12 NOON SATURDAY, JANUARY 11, 2020, AT 8PM PROGRAM NOTES

ELENA LANGER Figaro Gets a Divorce Orchestral Beethoven Emperor Suite

BORN December 8, 1974, in Moscow, Russia Concerto WORLD PREMIERE The Seattle Symphony commissioned this piece and these are the world premiere performances. Maxim Emelyanychev, conductor Jean-Efflam Bavouzet, piano NOTES FROM THE Seattle Symphony COMPOSER: Figaro Gets a Divorce is a mixture of ELENA LANGER Figaro Gets a Divorce Orchestral Suite 17’ Beaumarchais’s La mère coupable and (Seattle Symphony commission & World Premiere) a dark comedy – Figaro gets divorced – Night at the Almaviva Castle written in 1936 by the Austro-Hungarian Angelika and Serafin. Love Song— playwright Odon von Horváth, set amid The Escape— the émigré turmoil of the time. The plays The Major were stitched together by my collaborator, Susanna and Cherubino. Less of a love song— the opera’s librettist and director, Sir David A Mad Day Pountney. The opera follows the fortunes of the Almaviva household and takes place LUDWIG VAN BEETHOVEN Piano Concerto No. 5 in E-flat major, 38’ in a highly turbulent world, somewhere Op. 73, “Emperor” and sometime in 20th-century Europe. Allegro Adagio un poco mosso— The family is on the run from a revolution, Rondo: Allegro in a constant state of flight; Figaro and JEAN-EFFLAM BAVOUZET, PIANO Susanna’s marriage is shaky, the lovely boy Cherubino has become a horrible INTERMISSION 20’ fat cynic and runs a dive bar. There is a new character, the Major, evil incarnate, FELIX MENDELSSOHN Symphony No. 4 in A major, Op. 90, “Italian” 28’ who causes everyone much misery. The Allegro vivace orchestra is like Mozart’s in size but with a Andante con moto slightly larger brass section, an accordion Con moto moderato (the Major’s signature instrument) and Saltarello: Presto percussion. I did not try to quote from Mozart or Rossini.

Pre-concert Talk one hour prior to performance. Turning the opera into a coherent Speaker: Sarah Pyle, Writer and Musicologist orchestral piece was less straightforward than I thought, and while I worked it Jean-Efflam Bavouzet’s performances are generously underwritten by James and Sherry became a somewhat different piece, albeit Raisbeck through the Seattle Symphony’s Guest Artists Circle. with the same musical characters.

The first movement is a little nocturne with Please note that the timings provided for this concert are approximate. cicadas, insects and birds in the warm Please turn off all electronic devices and refrain from taking photos or video. Performance ©2020 Seattle Symphony. Copying of any performance by camera, audio or video recording equipment, and night-time garden. The second is a love any other use of such copying devices during a performance is prohibited. scene for young Angelika (the Count’s illegitimate daughter with Barbarina) and Serafin (product of the Countess’s fling with Cherubino); the main musical motif grows to an unashamedly lyrical orchestral apotheosis. The third is a concoction of ‘movement interludes’ from the opera describing the family’s anxious flight. The fourth is the evil Major: a tango with accordion, bongos and maracas.

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In the fifth movement I take the orchestra down to chamber size; it’s rather like the slow movement of a sonata for violin and piano. The material comes from a scene where Cherubino and Susanna are nostalgically remembering the past. The last movement uses all the main characters’ music as the verses of a Rondo. The refrain acts as an MC, and the kaleidoscopic episodes become like the numbers in a cabaret.

Scored for 2 flutes (the 2nd flute doubling piccolo); 2 oboes; 2 clarinets; 2 bassoons (the 2nd bassoon doubling contrabassoon); 2 horns; 2 trumpets; 2 trombones; tuba; timpani and percussion; piano and celeste; accordion; inter strings. © 2020 Elena Langer

ighlights LUDWIG VAN BEETHOVEN Piano Concerto No. 5 in E-flat major, at MEANY CENTER Op. 73, “Emperor” BORN Bonn, December 16, 1770 MIDORI with DIED March 26, 1827, in Vienna JEAN-YVES THIBAUDET WORK COMPOSED 1809 January 23, 2020 WORLD PREMIERE November 28, 1811, in the Leipzig Gewandhaus. Friedrich Schneider Virtuoso superstars perform performed as soloist, and Johann Schulz four Beethoven Sonatas conducted the famed Gewandhaus Orchestra. for Violin and Piano

What to Listen For Beethoven establishes the lordly character of his “Emperor” Concerto in its opening moments, as three sonorous ORLANDO CONSORT orchestral chords each give way to cadenza-like flourishes from the piano. February 4, 2020 This serves as a prelude to the usual Early music vocal ensemble orchestral paragraph, one of the grandest accompanies classic silent fi lm, and longest in any concerto. A deeply expressive slow movement proceeds to La Passion de Jeanne d’Arc the finale by way of an ingenious transition.

The title “Emperor,” by which Beethoven’s Fifth Piano Concerto has been known MARK & MAGGIE O’CONNOR since the early 19th century, probably stems from one of the many apocryphal February 14, 2020 anecdotes that have come to us Duo brings the New American School of concerning the composer. According to String Playing to American Classics this story, a French army officer stationed in Vienna attended the first performance of the work in the Austrian capital and was so moved by the grandeur of Beethoven’s music that he cried out: “C’est l’Empereur!” TICKETS (“It is the Emperor!”) MEANYCENTER.ORG 206-543-4880

16 SEATTLESYMPHONY.ORG PROGRAM NOTES

Even if this story were true, and even century, and the piece was played publicly FELIX MENDELSSOHN if Beethoven was able to hear the only once more during Beethoven’s exclamation — he was, by this time, lifetime. Only thanks to pianists like Clara Symphony No. 4 in A major, Op. 90, nearly deaf — the comparison with Schumann and Franz Liszt, who made “Italian”

Napoleon would hardly have flattered a point of performing Beethoven’s final BORN February 3, 1809, in Hamburg the composer. Once an ardent admirer concerto, did it finally receive proper DIED November 4, 1847, in Leipzig of Bonaparte, Beethoven had become recognition. bitterly disenchanted as the French ruler’s WORK COMPOSED 1830–33; revised 1834 ambition revealed itself. The most famous While this work follows the traditional WORLD PREMIERE May 13, 1833, in London. The evidence of this change of heart is the concerto format of three movements composer conducted the London Philharmonic well-known account of how the composer, in a fast–slow–fast pattern, Beethoven Society orchestra. after hearing that Napoleon had assumed introduces several formal innovations. The the throne, changed the title of his Third first comes at the very outset, with the Symphony from its original homage, thrice stated gesture of a grand orchestral What to Listen For Buonapart, to the anonymous Sinfonia chord that seems to propel the piano into Mendelssohn opens with a theme eroica (“Heroic Symphony”). a flight of virtuoso fancy. The orchestra of exceptional verve given out by then presents the initial theme of the first the violins over a rapid and rhythmically But despite the unfortunate political movement. Its quasi-martial character constant accompaniment in the connotation, “Emperor” does not seem places the music in the Classical-period woodwinds. Late in the first movement, an inappropriate title for the E-flat Piano tradition of “military concerto” openings, Mendelssohn approaches the reprise of Concerto. In 1809, when Beethoven a tradition to which several of Mozart’s his opening paragraph by sounding part of composed it, this work far surpassed keyboard concertos and Beethoven’s that initial theme in slow motion. all other concertos in its expression of earlier Piano Concerto in C, Op. 15, also majesty and heroism. During the first belong. We have not heard the last of the decade of the 19th century, Beethoven magisterial flourishes that opened the Near the symphony’s close, too, the transformed the piano concerto as concerto, however. They sound again composer offers a brief reference to the thoroughly as he had the symphony. late in the movement at a key juncture: melody that opened the work, now heard His first two keyboard concertos, like the return to the tonic key of E-flat major, in subdued and mournful tones. his First Symphony, were cast along following much harmonic peregrination classical lines defined by Haydn and and an inventive, at times turbulent, In the spring of 1830, the year he turned 21, Mozart. These were attractive, skillfully development of the proud main subject. Felix Mendelssohn set out from his home constructed compositions, but they spoke in Berlin for Italy. He traveled the peninsula the relatively restrained musical language The Adagio second movement is a for the next year and more. A man of of the previous generation. In his Third serene and devout meditation, one of broad culture and education, Mendelssohn and Fourth Piano Concertos, however, Beethoven’s most beautiful and tender took an interest in everything Italy had to Beethoven created works more sweeping creations. It concludes with a final musing offer. He visited Roman monuments and in scope and grander in sonority than any by the piano that evolves magically into Renaissance churches, lingered before the previous concerto. The Fifth, his final piano the principal theme of the third movement. canvases of Titian and other old masters, concerto, crowned his endeavors in this (This transition, another formal innovation, and observed with fascination the street field, and it retains an imperious position recalls the similar passage linking the scenes in Venice, Rome and Naples. He among compositions in its genre even scherzo and finale of Beethoven’s Fifth also drank in the Italian countryside, which, today. Symphony.) The music that follows fits as he reported in his letters, delighted him. the description of the eminent English Ironically, this composition, which is today conductor and commentator Donald And he found time to compose. In so widely admired, began its career on Francis Tovey, who extolled “this most February 1831 Mendelssohn wrote to a decidedly inauspicious note. Of its first spacious and triumphant of concerto his family from Naples that “[my] Italian performance, which took place in Leipzig [finale]s.” Symphony is making rapid progress.” He in 1811, little is known. The Vienna premiere had begun sketching this work in Rome Scored for solo piano; pairs of woodwinds, was given two years later. Contemporary the preceding autumn, and he worked at it horns and trumpets; timpani; strings. reviews report the concerto’s poor over the next two years. An initial version reception. One journalist observed that of the symphony reached completion in “Beethoven, full of proud confidence in © 2018 Paul Schiavo the spring of 1833, just in time to fulfill a himself, never writes for the multitude; commission from the London Philharmonic he demands understanding and feeling, Society. But the composer remained [which] he can receive only at the hands dissatisfied with his work, withheld it from of the knowing.” A public sufficiently publication, revised it substantially in 1834, “knowing” to appreciate this work did and evidently planned to do so again not emerge until the middle of the 19th during the years that followed.

Mendelssohn’s doubts about the “Italian” Symphony seem ironic in light of its subsequent success. The genial character and generous endowment of melody that mark this composition have made

encorespotlight.com 17 THOMAS DAUSGAARD, MUSIC DIRECTOR

A SYMPHONY FOR TODAY AND TOMORROW Your Gift to the Seattle Symphony Endowment

DID YOU KNOW? ANNUAL FUND OR ENDOWMENT? A robust endowment is the financial foundation of every Annual Fund gifts are essential for maintaining successful major American orchestra. artistic quality and funding the Symphony’s season of When you make a donation to the Endowment your gift is concerts. A healthy endowment builds a foundation for held in perpetuity with annual earnings supporting the Seattle the future, helping to maintain a superb and enduring Symphony’s outstanding music and musicians, vital community orchestra in our community. and education programs, and bold artistic initiatives. You can donate today or make your gift to the Endowment A STRONG ENDOWMENT PROVIDES through your will or estate plans. FINANCIAL SECURITY AND RESILIENCE.

To learn more about the Endowment, please contact Becky Kowals at [email protected] or 206.215.4852. THOMAS DAUSGAARD, MUSIC DIRECTOR MAXIM EMELYANYCHEV JEAN-EFFLAM BAVOUZET PROGRAM NOTES Conductor Piano Principal Conductor, Award-winning pianist Scottish Chamber Jean-Efflam Bavouzet it a favorite with audiences — not only Orchestra enjoys a prolific among Mendelssohn’s works but within Chief Conductor, Il recording and the symphonic literature as a whole. And Pomo d’Oro international concert although the composer does not resort to career. He regularly programmatic tone-painting in any specific “The inspirational works with orchestras way, it is not difficult to hear in this piece conductor, Maxim such as The Cleveland Photo: Paul Mitchell Paul Photo: a reflection of the sun-drenched Italian Emelyanychev, is a man Orchestra, San landscape he found so pleasing. on springs: he directs from the keyboard Francisco Symphony, London with manic intensity, alert to every rhythmic Philharmonic, BBC Symphony and NHK The work’s four-movement format nuance in the score, urging his players on Symphony orchestras, and collaborates corresponds to that of the Classical-period like a coachman driving a team of mane- with conductors including Vladimir symphony established by Haydn, Mozart and the young Beethoven, beginning tossing thoroughbreds. The results are Ashkenazy, Vladimir Jurowski, Gianandrea with an Allegro of exceptional verve. The truly exciting.” Noseda, François-Xavier Roth, Nicholas hymn-like subject of the ensuing Andante – Backtrack Collon, Gábor Takács-Nagy, Edward con moto has been compared by some Gardner, and Sir Andrew Davis among commentators to an ancient pilgrims’ song “If response and virtuosity is any guide, others. (as has a theme in Beethoven’s Seventh the SCO is already mesmerised by its new Symphony), though this seems to be due maestro, because the playing here was Highlights of Bavouzet’s 2019–2020 more to its solemn character and steadily exhilarating from first note to last.” season include the London Philharmonic marching accompaniment than to a – The Times Orchestra, Orchestre National de France, demonstrated resemblance to any known Budapest Festival Orchestra, a tour of melody. “Maxim Emelyanychev is the superbly the UK with the Iceland Symphony under resourceful and stylish conductor.” Yan Pascal Tortelier, and performing all The third movement is a minuet in all but – Evening Standard of Beethoven’s piano concertos with the name, its flowing principal idea framing a Orchestre National de Lyon. He will also central section featuring the horns, which reappear briefly in the last measures. In An outstanding representative of the return to Toronto and Seattle symphonies, the finale, vigorous rhythms combined younger generation of Russian conductors, Royal Scottish National Orchestra and with minor-key harmonies suggest the Maxim Emelyanychev was born in 1988 embarks on a tour of Australia to include saltarello, a Neapolitan folk-dance. to a family of musicians. He received his Sydney, Melbourne and Adelaide music education in his home city Nizhny Symphony Orchestras. Scored for pairs of winds, horns and trumpets; Novgorod (conducting and piano) and in timpani; strings. Gennady Rozhdestvensky’s conducting Bavouzet records exclusively for Chandos class at the Moscow Tchaikovsky and his recording of Grieg’s Piano © 2017 Paul Schiavo Conservatory. Concerto with Bergen Philharmonic under A SYMPHONY FOR Edward Gardner was nominated for a Soon after his conducting debut at the age Gramophone Award. Ongoing cycles of 12 he is invited by quite a few Russian include a five-year project to perform TODAY AND TOMORROW international orchestras, both Baroque and record the complete Mozart piano and symphonic. In 2013 he became the concertos with the Manchester Camerata Principal Conductor of the historically and Gábor Takács-Nagy as well as the Your Gift to the Seattle Symphony Endowment informed orchestra Il Pomo d’Oro and complete Haydn piano sonatas. His Principal Conductor of the Nizhny- complete Prokofiev piano concertos with Novgorod Soloists Chamber Orchestra. BBC Philharmonic and Gianandrea Noseda DID YOU KNOW? ANNUAL FUND OR ENDOWMENT? won the Concerto category of the 2014 In the 2019–2020 season, alongside Gramophone Awards. A robust endowment is the financial foundation of every Annual Fund gifts are essential for maintaining taking up his position of Principal successful major American orchestra. artistic quality and funding the Symphony’s season of Conductor of the Scottish Chamber Bavouzet has worked closely with Pierre concerts. A healthy endowment builds a foundation for Orchestra, he conducts the Orchestra of Boulez, Karlheinz Stockhausen, György When you make a donation to the Endowment your gift is the Age of Enlightenment in two of the Kurtág, Maurice Ohana and Bruno held in perpetuity with annual earnings supporting the Seattle the future, helping to maintain a superb and enduring major international opera institutions: The Mantovani and is also a champion of Symphony’s outstanding music and musicians, vital community orchestra in our community. Glyndebourne Festival (Handel Rinaldo, lesser-known French music, notably that of with Jakub Orlinski in the title role) and the Gabriel Pierné and Albéric Magnard. He is and education programs, and bold artistic initiatives. Royal Opera House (Handel Agrippina, the International Chair in Piano at the Royal You can donate today or make your gift to the Endowment A STRONG ENDOWMENT PROVIDES with Joyce DiDonato in the title role). Northern College of Music. In 2012 he was He also returns to the Orchestra della ICMA Artist of the Year and in 2008, he through your will or estate plans. FINANCIAL SECURITY AND RESILIENCE. Svizzera Italiana and to the Royal was awarded Beijing’s first ever Elite Prize Liverpool Philharmonic, among many other for his Beethoven complete sonata series. international engagements.

To learn more about the Endowment, please contact Becky Kowals at [email protected] or 206.215.4852. encorespotlight.com 19 1/10 FRIDAY, JANUARY 10, 2020, AT 8PM PROGRAM NOTES Beethoven & Franck In the early eighteenth century, a new CHAMBER SERIES instrument rocked society. The fortepiano — named for the instrument’s ability to create multiple dynamics — offered Jean-Efflam Bavouzet, piano new performance opportunities for both Elisa Barston, violin domestic and professional musicians. The piano quintet evolved from the genre of Mikhail Shmidt, violin accompanied keyboard sonatas in the Susan Gulkis Assadi, viola mid-to-late eighteenth century but the Meeka Quan DiLorenzo, cello instrumentation was not standardized until the middle of the nineteenth century. Mary Lynch, oboe Composers like J.C. Bach, Wolfgang Benjamin Lulich, clarinet Amadeus Mozart, Ludwig van Beethoven Seth Krimsky, bassoon and Franz Schubert created piano quintets using a variety of instruments. Mozart Jeffrey Fair, horn and Beethoven, for example, composed quintets only for piano and winds while LUDWIG VAN BEETHOVEN Quintet in E-flat major for 25’ Bach and Schubert added the piano Piano and Winds, Op. 16 to the pre-existing string quartet. This Grave—Allegro ma non troppo instrumentation — including piano, two Andante cantabile violins, viola and cello — became the Rondo: Allegro, ma non troppo traditional combination for piano quintets JEAN-EFFLAM BAVOUZET, PIANO in the nineteenth century and were MARY LYNCH, OBOE composed by composers such as Robert BENJAMIN LULICH, CLARINET Schumann, César Franck and Johannes Brahms. Tonight’s program offers two JEFFREY FAIR, HORN differing piano quintets, one featuring an SETH KRIMSKY, BASSOON earlier instrumentation of piano and winds INTERMISSION 20’ while the other combines the standard format of a piano and strings. CÉSAR FRANCK Piano Quintet in F minor 36’ Molto moderato quasi lento—Allegro The first piece on tonight’s program was Lento, con molto sentimento written by the revered Beethoven during Allegro non troppo, ma con fuoco the early stages of his compositional life. JEAN-EFFLAM BAVOUZET, PIANO The young German composer moved ELISA BARSTON, VIOLIN to Vienna in 1792, full of promise and eager to study under the tutelage of MIKHAIL SHMIDT, VIOLIN renowned composer Joseph Haydn. The SUSAN GULKIS ASSADI, VIOLA two soon fell out, however, as Haydn’s MEEKA QUAN DILORENZO, CELLO busy lifestyle took him elsewhere and Beethoven’s stubbornness clashed with Haydn’s teaching style. Over the next Biography for Jean-Efflam Bavouzet may be found on page 19. several years, Beethoven danced from instructor to instructor but primarily gained All other musicians' biographies may be found at seattlesymphony.org. fame as a pianist. His skill at the keyboard was remarkable and his improvisational Please note that the timings provided for this concert are approximate. talent unmatched; his young pupil and Please turn off all electronic devices and refrain from taking photos or video. secretary Ferdinand Ries once remarked Performance ©2020 Seattle Symphony. Copying of any performance by camera, audio or video recording equipment, and that “his extemporizations were the most any other use of such copying devices during a performance is prohibited. extraordinary things that one could hear. No artist that I ever heard came at all near the height which Beethoven attained. The wealth of ideas which forced themselves on him, the caprices to which he surrendered himself, the variety of treatment, the difficulties, were inexhaustible.” The legend of Beethoven’s prowess as a performer would only grow as he competed, and won, against prominent Viennese pianists like Daniel Steibelt and Joseph Wölffl.

20 SEATTLESYMPHONY.ORG PROGRAM NOTES

OCT 17 – JAN 26

Experience the fierce beauty of Annibale Carracci alongside Titian, Raphael, El Greco, and Ribera.

The exhibition is organized by the Museo e Real Bosco The presentation in Seattle is made possible by di Capodimonte, Naples, the Seattle Art Museum, #FleshandBlood the Kimbell Art Museum, and MondoMostre. Presenting Sponsor Lead Sponsor Major Sponsor Robert Lehman visitsam.org/fleshandblood Foundation

Hotel Partner Four Seasons Hotel Seattle

Image: Mystical Marriage of Saint Catherine (detail), ca. 1585, Annibale Carracci, Italian, 1560–1609, oil on canvas, 63 × 50 3/8 in., Museo e Real Bosco di Capodimonte. THOMAS DAUSGAARD, MUSIC DIRECTOR Photo: Patoc Brandon

“It is a rare privilege to hear a world-class symphony orchestra perform live in a facility such as Benaroya Hall. It’s an experience that simply cannot be captured by any recording process. We give because we know that the ticket prices don’t begin to cover the costs of the Symphony’s performances.” – Parul, Symphony Board member, with husband and fellow Symphony supporter, Gary

Join Parul and Gary by making your gift to the Symphony today! Concerts like the one you are about to enjoy are only possible through the support of generous music lovers like you. seattlesymphony.org/give | 206.215.4832 PROGRAM NOTES

Although famous as a performer, discussed Franck’s balance between to Franck. The first movement is full of Beethoven also sought to carve out a these two ideals as a “double allegiance,” darkness and tumult as the strings violently legacy for himself as a great composer. noting “a balance between his inherent open the work. The piano, however, His former teacher Haydn stood as the emotionalism and his preoccupation with responds to their passionate cry with eminent Viennese composer during this counterpoint and Classical forms.” lyricism. The second movement continues time, dominating the genres of symphony the tender piano soliloquies of the first, and string quartet with an enormous One should point to Franck’s profession though often interrupted by melancholy output. While Beethoven would go on to understand his allegiance to sighs in the strings. The finale culminates to become a renewed symphonist in his counterpoint and traditional forms: as an the work with drama, emotion and pathos. own right, he also produced a series of organist, Franck studied the immaculate chamber pieces for wind instruments contrapuntal works of Johann Sebastian Tonight’s program began with the young during these early years, including Piano Bach. Still, many of his best-known works Beethoven, striving to make his name Trio in B-flat major, Op. 11 for piano, clarinet embody the tumultuous emotionality of in Viennese society but ends with the and cello; Septet in E-flat major, Op. 20 Romanticism. His late chamber works, in elder Franck, battling to balance form and for clarinet, horn, basson, violin, viola, particular, balance Franck’s love of the emotion. Franck sought to carve a path cello and double bass; Trio in C-major, Op. past with his present. His Piano Quintet between two opposing sides and, in doing 87 for two oboes and English horn; and in F minor (composed for piano, two so, succeeded with his bold piano quintet. Quintet in E-flat major, Op. 16 for piano, violins, viola and cello) stands as a prime As he immortally once said, “I dared much, oboe, clarinet, horn and bassoon. example of his compositional prowess, but the next time, you will see, I will dare full of dark passions and a cyclical form. even more ….” Beethoven composed in piano quintet Franck dedicated the work to his friend in 1796 but it was not performed until a and colleague Camille Saint-Saëns, though © 2020 Megan Francisco concert at the palace of Prince Joseph it is reported that Saint-Saëns rejected the Johann von Schwarzenberg on April 6, gifted manuscript and walked off stage 1797. In appreciation of the premiere, after the performance in a horrific slight Beethoven later dedicated the piece to Schwarzenberg. Most scholars agree that Beethoven’s quintet pays homage to Mozart’s work for the same instrumentation, particularly since both pieces are set in E-flat major. Beethoven’s work opens with pomp and decorum, seemly setting up a stately march. Instead, Beethoven swerves to a lyrical principal theme that echoes throughout all five instruments. The second movement is slow and sentimental, and shows off the dark, rich timbres of the winds. In contrast, the final movement concludes the work with a delightful rondo.

Greatly contrasting Beethoven’s Viennese Classical piano quintet, Franck’s work comes during the height of Romanticism. This is the era of sentiment, of pathos, of darkness, despair and all-encompassing emotion. Composers such as Franz Liszt and Richard Wagner were revolutionizing musical thought during the mid-to- “Thank you Scan|Design. I feel very lucky late nineteenth century, focusing on to live here in such style and comfort, and it changing musical structures, harmonies and programs. Liszt and Wagner were adds to my great joy in being in Seattle.” polarizing; some musicians, like Brahms, Thomas Dausgaard, Seattle Symphony Music Director reacted against their innovations while other composers, like Gustav Mahler, were seduced by their new aesthetics and ideals. Franck — who was both in the United Kingdom of the Netherlands (now Belgium) but spent the majority of his career in Paris — straddled the line between new Romantic aesthetics and 19320 33rd Ave. W 425-771-7226 the Classical standards. Musicologists Lynnwood, WA 98036 scan-design.com John Trevitt and Joël-Marie Fauquet

encorespotlight.com 23 1/15 WEDNESDAY, JANUARY 15, 2020, AT 7:30PM PROGRAM NOTES

Itzhak Perlman Ludwig van Beethoven was restless IN RECITAL SERIES in Vienna at the turn of the eighteenth century. He had come to this sparkling city — arguably the center of European culture and high society — in November of 1792 Itzhak Perlman, violin to study under the tutelage of renowned Rohan de Silva, piano composer Joseph Haydn. Beethoven only studied with Haydn for approximately a year, however, as the elder musician soon LUDWIG VAN BEETHOVEN Violin Sonata in E-flat major, No. 3, Op. 12 18’ departed for London and left Beethoven to Allegro con spirito seek instruction elsewhere. During Haydn’s Adagio con molta espressione absence, Beethoven continued to learn Rondo: Allegro molto of the galant style of composition, which included enjoyable, symmetrical melodies ITZHAK PERLMAN, VIOLIN and simple forms aimed at pleasing (rather ROHAN DE SILVA, PIANO than challenging) listeners.

EDVARD GRIEG Violin Sonata No. 2 in G major, Op. 13 21’ Beethoven’s dissatisfaction with the galant Lento doloroso—Allegro vivace grew, however, as the young composer Allegretto tranquillo desired to transform long-established Allegro animato styles. In 1798, Beethoven continued work ITZHAK PERLMAN, VIOLIN on his Opus 12 — a set of violin sonatas ROHAN DE SILVA, PIANO that challenged the genre and incorporated the piano as an equal partner rather than INTERMISSION 20’ mere accompaniment. Tonight’s program ANTONÍN DVOŘÁK Sonatina in G major, Op. 100 17’ includes Beethoven’s Sonata for Violin Allegro risoluto and Piano in E-flat major, No. 3, Op. 12. This piece is dedicated to the Imperial Larghetto Kapellmeister Antonio Salieri, who taught Scherzo: Molto vivace compositional lessons during Beethoven’s Finale: Allegro time in Vienna and offered free tuition to ITZHAK PERLMAN, VIOLIN talented young musicians. The exuberant ROHAN DE SILVA, PIANO first movement portrays Beethoven’s innovations, showcasing virtuosic runs traded between the instruments. The Additional works will be announced from the stage. melody — simple, elegant, and pleasing — shows Beethoven’s mastery of the galant Itzhak Perlman’s performance is generously underwritten by James and Sherry Raisbeck style. The second movement stands as through the Seattle Symphony’s Guest Artists Circle. the heart of the sonata while the third movement’s fiery finale features the range and virtuosity of both piano and violin. Please note that the timings provided for this concert are approximate. Please turn off all electronic devices and refrain from taking photos or video. The final two pieces on tonight’s program Performance ©2020 Seattle Symphony. Copying of any performance by camera, audio or video recording equipment, and are from nineteenth-century composers any other use of such copying devices during a performance is prohibited. who are closely identified with their respective countries’ nationalistic movements. Nationalism rose in popularity throughout the century; advocates drew from the success of the French Revolution and noted the importance of a common heritage. The concepts of a shared language, rituals, culture, tradition, folklore, and music dominated nationalistic movements as small nations struggled to find their identity whilst under the rule of large empires.

Music, in particular, became a rallying cry for nations. The French Revolution modeled the power of music through Claude Joseph Rouget de Lisle’s “La Marseillaise” — a song that echoed through the streets of Paris and remains France’s national anthem to this day. Giuseppe Verdi harnessed

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400 N 43rd St. ¿ Seattle, WA. 98103 ¿ 206-633-4775 LIGHTHOUSEROASTERS.COM ITZHAK PERLMAN PROGRAM NOTES Violin Undeniably the reigning virtuoso of the the power of opera during the Italian by the fiddle in the Norwegian countryside, violin, Itzhak Perlman Risorgimento (resurgence) in the 1820s enthusiastically leaping across the enjoys superstar status and showed that music effects change instrument’s range. The second movement rarely afforded a in established countries. Carl Maria von greatly contrasts the vibrant conclusion classical musician. Weber drew upon German folklore and of the first. A melancholy piano opens the Beloved for his charm folk songs in his opera, Der Freischütz, movement before the violin takes up its and humanity as well as Photo: Lisa Marie Mazzucco Lisa Marie Photo: and depicted the strength of a nation not minor melody. This movement provides a his talent, he is yet formed. Similarly, Frédéric Chopin moment of respite between the first and treasured by audiences throughout the championed Polish folk music through third movements, as the finale features the world who respond not only to his his use of the mazurka in his piano full virtuosity of the performers. remarkable artistry, but also to his works and Bedrich Smetana took up the irrepressible joy for making music. mantel of “The Father of Czech Music” Czech composer Antonín Dvořák Having performed with every major in his powerful set of symphonic poems similarly incorporated folk and nationalistic orchestra and at venerable concert entitled Má vlast (My Countryland). In short, elements into his music. Following in the nationalism dominated nineteenth-century footsteps of Smetana, Dvořák borrowed halls around the globe, Itzhak Perlman culture and music played a key role in elements from traditional Czech music was awarded a Presidential Medal of championing folk culture and traditions. to create a national sound. His Slavonic Freedom, the Nation’s highest civilian Dances (1878), for example, uses honor, in November 2015 by President Composer Edvard Grieg is regarded as irregular rhythms found in popular local Obama for his meritorious contributions one of the great Norwegian nationalistic Czech dances. Perhaps his best-known to cultural endeavors of the United States composers. He supported the move nationalistic work, however, represents and for being a powerful advocate for towards national styles of music and the music of a different country: The people of disabilities. In 2016, he received famously remarked that “the spirit of my United States. Dvořák’s Symphony No. the Genesis Prize in recognition for his native land, which has long found a voice 9 (“From the New World”) incorporated exceptional contributions as a musician, in the traditional songs of its people, is a African-American spirituals and folk music teacher, advocate for individuals with living presence in all I give forth.” Grieg he learned whilst studying with Native special needs and dedication to Jewish utilized a wide array of musical genres Americans in Iowa. Dedicated to his two values. in his nationalistic pursuits, including children, Dvořák’s Sonatina in G major, songs, orchestral suites, and piano Op. 100 (composed in 1893 during his works. Perhaps his most famous piece is sojourn in New York) similarly relies upon the symphonic poem, Peer Gynt (1875), American folk music for its character. which draws from Norwegian folklore and ROHAN DE SILVA peasant dances. His Violin Sonata No. 2 The first movement opens with an Piano in G major, Op. 13 similarly evokes Grieg’s emphatic statement in the violin and that native country. After its composition is followed by a lilting, lyrical melody that Rohan De Silva’s in 1867 — which took place during his interchanges between the violin and partnerships with violin honeymoon — Grieg presented the sonata piano. The second movement, Larghetto, virtuosos Itzhak manuscript to his instructor, Niels Gade. provides listeners with a wistful melody. Perlman, Pinchas After exploring the work, Gade dismissed Dvořák cites a previous trip to Minnehaha Zukerman, Cho-Liang the piece as “too Norwegian” — a remark Falls, Minnesota as inspiration for the Lin, Midori, Joshua Bell, to which Grieg cheekily replied that his movement’s soulful lyricism. The third Benny Kim, Kyoko next violin sonata would be “even more movement is a dance, evoking folksong Takezawa, Vadim Photo: John Beebe John Photo: Norwegian.” Grieg dedicated the work that Dvořák learned during his time in Repin, Gil Shaham, the United States. The final movement is to another Norwegian musician, the Nadja Salerno-Sonnenberg, Julian Rachlin, similarly a dance, relying on the pentatonic composer and violinist Johan Svendsen. James Ehnes and Rodney Friend have led scale and syncopation to convey its folk to highly acclaimed performances at recital Violin Sonata No. 2 rejects the typical roots. Sonatina in G major — full of energy, nineteenth-century model of folksong, lyricism and American folk music — is the venues all over the world. With these and in which composers directly quote the perfect finale for this evening’s program. other artists he has performed on the source material in their work. Instead, stages of Carnegie Hall, Lincoln Center’s Avery Fisher Hall and Alice Tully Hall, the Grieg creates his own melodies similar to © 2020 Megan Francisco that of Norwegian music rather than using Kennedy Center, Library of Congress, pre-existing songs. The first movement Philadelphia Academy of Music, begins with a sorrowful, lyrical lament in Ambassador Theater in Los Angeles, the violin before transitioning to a playful Concertgebouw in Amsterdam, Wigmore passage full of exuberance and virtuosity. Hall in London, Suntory Hall in Tokyo, the The violin turns to techniques often heard Mozarteum in Salzburg, La Scala in Milan and in Tel-Aviv, Israel. Mr. De Silva’s festival appearances include Aspen, Ravinia, Interlochen, Seattle Chamber Music, Manchester, Schleswig-Holstein, Pacific Music Festival and the Wellington Arts Festival in New Zealand.

26 SEATTLESYMPHONY.ORG At the show or on the go

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encorespotlight.com 27 THOMAS DAUSGAARD, MUSIC DIRECTOR

NAME A SEAT IN BENAROYA HALL

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

CREATE YOUR LASTING LEGACY

SEATTLESYMPHONY.ORG/BH20 | 206.215.4832 1/16–19 THURSDAY, JANUARY 16, 2020, AT 7:30PM THOMAS DAUSGAARD, MUSIC DIRECTOR SATURDAY, JANUARY 18, 2020, AT 8PM PROGRAM NOTES SUNDAY, JANUARY 19, 2020, AT 2PM

LUDWIG VAN BEETHOVEN Thomas Zehetmair Violin Concerto in D major, Op. 61

BORN December 16, 1770, in Bonn Beethoven Violin Concerto DIED March 26, 1827, in Vienna WORK COMPOSED 1806 WORLD PREMIERE December 23, 1806, in Thomas Zehetmair, conductor & violin Vienna. Franz Clement, for whom Beethoven Seattle Symphony had written the piece, was the soloist.

LUDWIG VAN BEETHOVEN Violin Concerto in D major, Op. 61 42’ What to Listen For Allegro ma non troppo The concerto opens with four notes Larghetto— sounded quietly by the timpani. Rondo: Allegro This motif returns in different guises again THOMAS ZEHETMAIR, CONDUCTOR & VIOLIN and again throughout the first movement, a thread linking its various themes and INTERMISSION 20’ sections. WOLFGANG Minuet in C major, K. 409 (338f) 7’ AMADEUS MOZART Beethoven composed his only violin WOLFGANG Symphony No. 38 in D major, 26’ concerto in 1806, evidently at the request AMADEUS MOZART K. 504, “Prague” of a violinist named Franz Clement, Adagio—Allegro who performed it during a concert on Andante December 23 of the same year. Clement Finale: Presto was then one of the most respected musicians in Vienna, where the composer now lived, and was by all accounts a Pre-concert Talk one hour prior to performance. virtuoso of no mean ability. Indeed, Speaker: Sarah Pyle, Writer and Musicologist NAME A SEAT Beethoven reportedly did not finish the piece until just before the concert, Please note that the timings provided for this concert are approximate. Please turn off all electronic devices and refrain from taking photos or video. and Clement, astonishingly, played the Performance ©2020 Seattle Symphony. Copying of any performance by camera, audio or video recording equipment, and solo part without benefit of practice or a IN BENAROYA HALL any other use of such copying devices during a performance is prohibited. rehearsal. Violinists who have struggled with the work’s more difficult passages are, naturally, skeptical about this anecdote, which in any case probably exaggerates For over two decades, generations of audience members the truth of the situation. have experienced the magic, wonder and inspiration of live In any event, this concerto is neither a virtuoso showpiece nor an occasional performances from their seats inside Benaroya Hall. composition produced quickly to flatter a renowned performer. It is, rather, the first of Join us today for this once-in-a-lifetime opportunity to be a part the great 19th-century German concertos for the violin. Those that followed it, of Benaroya Hall history by naming a seat. the concertos of Mendelssohn, Bruch and Brahms, could scarcely have been Seats are available throughout the S. Mark Taper Foundation conceived without the precedent of its breadth and the heroic character of its Auditorium and the Illsley Ball Nordstrom Recital Hall. Your violin part. gift is an opportunity to join in the legacy and preservation of As in his Fifth Symphony, with its famous Benaroya Hall. four-note “da-da-da DA” motif, Beethoven builds the concerto’s first movement around a signature figure. It consists of four notes introduced quietly and in CREATE YOUR LASTING LEGACY even rhythms in the opening moments. Beethoven returns to this motif over and over again during the first movement. Its unifying influence is important, for this portion of the concerto unfolds on an expansive scale, as its lengthy

SEATTLESYMPHONY.ORG/BH20 | 206.215.4832 encorespotlight.com 29 PROGRAM NOTES orchestral exposition promises. A passage out of Salzburg by his employer, genius, offering the social stability of a suggesting leisurely improvisation brings Archbishop Colloredo, who despite “bad small town and a relatively modest level the solo instrument to the proceedings, press,” was essentially forward looking of musical activity that a talented boy and the violin now joins in exploring and and progressive in his policies. Since could easily enter and soon dominate. developing the melodic ideas that the everybody loves Mozart, the Archbishop’s But Salzburg’s provincialism became orchestra has already set forth. posthumous reputation didn’t stand a increasingly irksome as Mozart matured, chance against that of the much-loved and he was only too glad finally to leave it In contrast to the extended and composer. Mozart’s talent was never in for the more cosmopolitan life of Vienna, thematically rich first movement, the doubt, but many found his personality where he moved shortly after his 25th ensuing Larghetto reveals a simple abrasive: he was bad at “job interviews” birthday. and quite economical premise: a set one might say! Mozart returned to the of variations on a hymn-like theme first The capital of the Hapsburg empire was city of his birth the following year, and intoned by the muted string choir. Over also the capital of European music, and composed his vivacious Symphony No. 34 each successive statement of this subject Mozart had every reason to hope for in C major, K. 338. He hoped the freshly the soloist spins increasingly ornate the success and recognition his abilities minted work would serve as his one-way counter-melodies, its line soaring serenely merited. The story of his failure to achieve ticket to a hoped-for better life in Vienna above the orchestra. A feeling of profound this is sad and well known. After a few (sadly, in vain). Once in Vienna, he revisited tranquility prevails. Only in approaching seasons of enthusiasm, the music lovers the score, adding a complete Minuet, the cadenza, the featured performer’s among Vienna’s cultured aristocracy eventually listed as K. 409. Salzburgers soliloquy, do we encounter a moment of largely abandoned Mozart, allowing him to — like their Parisian music lovers — had harmonic tension typical of Beethoven. sink ever deeper into debt and illness until preferred three-movement symphonies, However, the real surprise is not in the his death in 1791. while in Vienna the newer four-movement two measures of searching chords that format reigned supreme. In adding the precede the cadenza but, rather, in what Meanwhile, in 1786, Mozart’s opera The new movement, Mozart added flutes to the follows it. For instead of offering a closing Marriage of Figaro, which had lasted already rich scoring, creating an especially paragraph to conclude the movement, only nine performances in Vienna, was full tapestry of orchestral color. Though as we might expect, Beethoven jumps produced in Prague to tremendous generally not included in performance of directly into the lively finale. acclaim. Its triumph called Mozart there the symphony, the add-on bears the sound from Vienna to discuss a commission for a This features a jaunty principal theme of a festive military march that celebrates new opera. (This would be Don Giovanni.) alternating with several contrasting a happy victory without delving into the Arriving in Prague in January 1787, Mozart episodes. The latter offer a variety of misery of defeat. reported exultantly in a letter that “here musical references: hunting calls from the Scored for 2 flutes; 2 oboes; 2 bassoons; 2 they talk of nothing but Figaro, play, sing orchestral winds; robust double-stops in horns; 2 trumpets; timpani; strings. and whistle nothing but Figaro, see no the solo part to suggest a gypsy violin; and opera but Figaro, there is nothing but a minor-key lament in a rather operatic Figaro.” © 2020 Steven Lowe vein. Even more than Beethoven’s skill in binding these diverse musical ideas into Capitalizing on his newfound popularity a coherent whole, the sheer momentum in the Bohemian city, Mozart presented of the music — its feeling of inevitable WOLFGANG AMADEUS a concert there on January 19, 1787. The progression through each idea and finally MOZART principal offering was a new symphony to its conclusion — makes this one of the which he had composed for the occasion, most satisfying finales in the concerto Symphony No. 38 in D major, and which the faithful Praguers greeted literature. “Prague” with such prolonged applause that Mozart could quiet them only by consenting to WORLD PREMIERE January 19, 1787, in Prague; Scored for solo violin; flute; 2 oboes; 2 improvise at the piano. It has been known clarinets; 2 bassoons; 2 horns; 2 trumpets; the composer conducting ever since as the “Prague” Symphony. timpani; strings. Mozart’s last four symphonies are their The enthusiasm of that first audience © 2018 Paul Schiavo author’s crowning achievements in the was in no way misplaced. The “Prague” sphere of orchestral music and represent is the first of Mozart’s mature symphonic the Classical form of their genre at its masterpieces, and it stands with the WOLFGANG AMADEUS peak of perfection. The first of these great great trilogy of final symphonies written works, which concludes our concert, in the summer of 1788 as his crowning MOZART bears the name of the city for which it was achievement in this genre. It was the Minuet in C major, K. 409 (338f) written, and where it first was heard. composer’s first symphony in some four years — an unusually long period in BORN January 27, 1756, in Salzburg It is one of the ironies of Mozart’s Mozart’s compressed career — and, when biography that the composer achieved DIED December 5, 1791, in Vienna compared to its immediate predecessors, the most unambiguous success he would WORK COMPOSED 1782 reveals the ripening of the composer’s know during his lifetime in a place he art that had occurred in that time. This never resided. Salzburg, where he was is especially noticeable in the extensive In 1780, Wolfgang Amadeus was born and spent most of his brief life, use of fugal counterpoint as a means of unceremoniously and literally booted provided a suitable cradle for Mozart’s developing the work’s thematic materials,

30 SEATTLESYMPHONY.ORG

PROGRAM NOTES

a resource gleaned in large part from Mozart’s recent immersion in the music of J.S. Bach.

The “Prague” Symphony opens with an intensely dramatic introduction in slow tempo, this serving as a prologue to the Allegro that forms the main body of the first movement. In the latter section, Mozart devotes much of the central development episode to brilliant contrapuntal elaboration of his thematic material. Taste the World. Especially fruitful is the movement’s initial subject, whose several constituent motifs prove, in Mozart’s capable hands, to be Vancouver Style. laden with polyphonic possibilities.

JANUARY 17 to FEBRUARY 2, 2020 No minuet follows the beautiful and dineoutvancouver.com deeply felt Andante. (This is the only one of Mozart’s mature symphonies to lack the dance movement.) Instead, we hear at once the Finale. With its syncopated PRESENTED BY FESTIVAL PARTNER PREFERRED PARTNERS principal theme and bustling subsidiary subjects, this turns out to be as vigorous and satisfying a closing movement as Mozart ever composed, and a fitting gift to ™ Trademark of Tourism Vancouver, The Metro Vancouver Convention and Visitors Bureau. the music-loving city that alone honored him as he deserved during his lifetime.

Scored for pairs of flutes, oboes and bassoons; pairs of horns and trumpets; timpani and strings.

© 2014 Paul Schiavo

32 SEATTLESYMPHONY.ORG THOMAS ZEHETMAIR Conductor & violin

Thomas Zehetmair enjoys enviable international acclaim Premier Residential Retirement Since 1987 not only as a violinist, but also as a conductor and chamber musician. The 2019–2020 season sees him take Photo: Julien Mignot Julien Photo: up his position as Chief Conductor of the Stuttgarter Kammerorchester and he continues as Chief Conductor of the Musikkollegium Winterthur, a post he has held since 2016. MAKE ROOM IN YOUR LIFE This season he tours with them to South For More Korea and Tokyo with Mischa Maisky as a Lasting Connections Interesting Hobbies Beautiful Walks soloist. At family-owned and locally operated Era Living Zehetmair has appeared as a conductor and violinist with orchestras including the retirement communities, active seniors are making Seattle Symphony, Seoul Philharmonic Orchestra, Swedish Chamber Orchestra, room for more community and memorable Rotterdam Philharmonic, Orchestra of the moments in their retirement years. 18th Century, Budapest Festival Orchestra and Hamburger Philharmoniker. He was Visit eraliving.com to learn more about our 8 Chief Conductor of the Orchestre de Chambre de Paris, Artistic Partner of St. unique and innovative communities across Paul’s Chamber Orchestra and Music Seattle, Renton, and the Eastside. Director of the Royal Northern Sinfonia with whom he continues his association as Conductor Laureate.

In the 2019–2020 season, Zehetmair conducts the Scottish Chamber Orchestra, Svetlanov Symphony Orchestra, Helsinki Philharmonic and returns to the Royal Northern Sinfonia, Seattle Symphony and St. Paul’s Chamber Orchestra. He is soloist with Philharmonia Orchestra (Herreweghe) and NDR Hannover (Manze).

Zehetmair has an extensive and varied discography as a violinist, conductor and with the Zehetmair Quartet. His recording of the Paganini Caprices attracted a Midem Classic Award and his rendition of the Elgar Concerto with the Hallé Orchestra under Sir Mark Elder received a Gramophone Award in 2010. Recent recordings include Brahms Four Symphonies and Bruckner Symphony No. 3 with Musikkollegium Winterthur. His latest CD release is Bach Six Sonatas and Partitas for solo violin.

The Zehetmair Quartet has been awarded the Paul Hindemith Prize by the City of Hanau for outstanding musical achievement. Thomas Zehetmair was honored by the Preis der Deutschen Schallplattenkritik and holds honorary doctorates from the Liszt University in Weimar and Newcastle University.

encorespotlight.com 33 THOMAS DAUSGAARD, MUSIC DIRECTOR

Sponsored by:

NINE SYMPHONIES FOUR WORLD PREMIERES THREE WEEKS ONE COMMUNITY

SETH PARKER WOODS SWIL KANIM COMMUNITY YOUTH CHORUS PAUL CHIYOKTEN WAGNER MEMBERS OF REGIONAL NATIVE TRIBES ANGELIQUE POTEAT TYSHAWN SOREY JANICE GITECK CELENA SHAFER CHARLES COREY ALEXANDER DOBSON ANTHONY DEAN GRIFFEY SEATTLE SYMPHONY CHORALE

Beethoven Festival concerts are supported in part by a generous grant from the American Orchestras’ Futures Fund, a program of the League of American Orchestras made possible by funding from the Ann and Gordon Getty Foundation. Thomas Dausgaard’s performances sponsored by the Scan|Design Foundation by Inger and Jens Bruun. Anthony Dean Griffey’s performances are supported in part by the Melvyn Poll Tenor Fund. Celena Shafer, Anthony Dean Griffey and Alexander Dobson’s performances are generously underwritten by Benjamin and Kelly Martz. Community compositions supported by a grant from the National Endowment for the Arts. 1/17–21 FRIDAY, JANUARY 17, 2020, AT 8PM LEE MILLS Conductor THOMAS DAUSGAARD, MUSIC DIRECTOR TUESDAY, JANUARY 21, 2020, AT 7:30PM Resident Conductor of the Brazilian Symphony Orchestra and winner of Rick Steves’ Europe: the Solti Foundation U.S. Career Assistance Award in both 2014 and A Symphonic Journey 2017, Lee Mills is SPECIAL PERFORMANCES internationally Photo: Cicero Rodrigues Cicero Photo: recognized as a Lee Mills, conductor passionate, multifaceted and energetic conductor. His conducting engagements Rick Steves, host outside of the Brazilian Symphony Seattle Symphony Orchestra include the National Symphony Orchestra, the Los Angeles Philharmonic, JOHN STAFFORD SMITH The Star-Spangled Banner the São Paulo State Symphony Orchestra, /arr. John Williams the Saint Louis Symphony Orchestra and the Baltimore Symphony Orchestra. ARR. ROBERT WENDEL The Armed Forces March Starting as Assistant Conductor of the GEORGE WALKER Lyric for Strings Brazilian Symphony Orchestra in 2014, he was promoted to Resident Conductor after AARON COPLAND Fanfare for the Common Man only 18 months. Also in 2014, he conducted alongside David Robertson in the highly ARR. CALVIN CUSTER A Salute to the Big Bands acclaimed U.S. Premiere of John Cage’s Thirty Pieces for Five Orchestras with the ARR. PHILIP ROTHMAN America the Beautiful Saint Louis Symphony. INTERMISSION JOHN STAFFORD SMITH The Star-Spangled Banner /arr. Walter Damrosch RICK STEVES JOHANN STRAUSS, JR. On the Beautiful Blue Danube Waltzes, Op. 314 Host Guidebook author and RICHARD WAGNER Prelude to Act III of Lohengrin travel TV host Rick Steves is America's BEDŘICH SMETANA The Moldau, No. 2 from Má vlast Sponsored by: most respected authority on European GIUSEPPE VERDI Overture to Nabucco travel. Rick took his first trip to Europe in 1969, EDWARD ELGAR Pomp and Circumstance March No. 1 visiting piano factories with his father, a piano EDVARD GRIEG Morning Mood from Peer Gynt importer. As an 18-year-old, Rick began Suite No. 1, Op. 46 NINE SYMPHONIES FOUR WORLD PREMIERES traveling on his own, funding his trips by teaching piano lessons. In 1976, he started CAMILLE SAINT-SAËNS Marche militaire française from Suite algérienne, Op. 60 his business, Rick Steves' Europe, which THREE WEEKS ONE COMMUNITY has grown from a one-man operation to a LUDWIG VAN BEETHOVEN Ode to Joy from Symphony No. 9 in D minor, company with more than 100 well-travelled Op. 125 “Choral” employees at its headquarters in Edmonds, Washington. This performance is approximately two hours including one 20-minute intermission. There he produces a best-selling SETH PARKER WOODS SWIL KANIM COMMUNITY YOUTH CHORUS guidebook series on European travel, Rick Steves is generously donating his time in support of tonight’s performance. PAUL CHIYOKTEN WAGNER MEMBERS OF REGIONAL NATIVE TRIBES America's most popular travel series on ANGELIQUE POTEAT TYSHAWN SOREY JANICE GITECK CELENA SHAFER CHARLES COREY public television, a weekly national public ALEXANDER DOBSON ANTHONY DEAN GRIFFEY SEATTLE SYMPHONY CHORALE Please turn off all electronic devices and refrain from taking photos or video. radio show, a weekly syndicated column Performance ©2020 Seattle Symphony. Copying of any performance by camera, audio or video recording equipment, and and travel website. Rick Steves' Europe any other use of such copying devices during a performance is prohibited. also runs a successful European tour program that takes more than 30,000 travelers to Europe annually. His mission: to empower Americans to have European trips that are fun, affordable and culturally broadening.

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Beethoven Festival concerts are supported in part by a generous grant from the American Orchestras’ Futures Fund, a program of the League of American Orchestras made possible by funding from the Ann and Gordon Getty Foundation. Thomas Dausgaard’s performances sponsored by the Scan|Design Foundation by Inger and Jens Bruun. Anthony Dean Griffey’s performances are supported in part by the Melvyn Poll Tenor Fund. Celena Shafer, Anthony Dean Griffey and Alexander Dobson’s performances are generously underwritten by Benjamin and Kelly Martz. Community compositions supported by a grant from the National Endowment for the Arts. 1/24–25 FRIDAY, JANUARY 24, 2020, AT 8PM SATURDAY, JANUARY 25, 2020, AT 8PM PROGRAM NOTES

Tomaso Albinoni (1671–1750) was a scion Italian Baroque of a wealthy Venetian merchant family, BAROQUE & WINE SERIES and Tomaso trained in the family business while at the same time indulging a penchant for music. Though he displayed Elisa Citterio, conductor & violin a genius for melody and an easy mastery Seattle Symphony of counterpoint, his interest in music was essentially that of a dilettante in his early years. He buckled down and became a TOMASO ALBINONI Sinfonia à cinque in C major, Op. 2, No. 3 11’ famous opera composer right when he Largo lost his annuity as the family business Allegro was liquidated in the 1720s, but at the Grave 1700 publication of his Opus 2 sonatas, Allegro he was of the leisure class and enjoying himself extravagantly. You’ve never been welcomed anywhere with such limpid PIETRO LOCATELLI Concerto grosso in E-flat major, 22’ eloquence and geniality as you are to Op. 7, No. 6, Il pianto d’Arianna this concert by the Sinfonia à cinque in (“The weeping of Arianna”) C major, Op. 2, No. 3. The ‘cinque’ refers — Andante—Allegro—Adagio—Andante—Allegro to the number of distinct string parts, Largo— rather than to the number of players. Most Largo andante— of the string writing you’ve ever heard, Grave— especially in baroque music, relies on a Allegro— four-part support of two violin parts, viola Largo and cello (doubled by the bass). Albinoni turns béchamel into mornay with the ALESSANDRO SCARLATTI Concerto grosso No. 1 in F minor 9’ addition of a second viola part. The two Grave slow movements are duets between the Allegro two violin parts over a throbbing chordal Largo accompaniment by the rest of the strings, Allemande: Allegro but the two fast movements comprise some really zesty fugal writing in five equal INTERMISSION 20’ voices. The density of the counterpoint GIUSEPPE VALENTINI Concerto in A minor, Op. 7, No. 11 19’ could almost seem jejune were it not Largo tempered by the irrepressible tunefulness Allegro of the subject matter. Grave—Allegro—Grave Presto Pietro Locatelli (1695–1764) founded the Adagio modern virtuoso violin tradition, and while his oeuvre is of uniformly high quality, Allegro assai much of it consists largely of impressive violin writing and none of it is vocal. ANTONIO VIVALDI Violin Concerto in C minor, 10’ Wonder, then, at the operatic fantasia that L’amato bene, RV 761 is the Concerto grosso in E-flat major, Allegro Op. 7, No. 6, Il pianto d’Arianna (“The Largo weeping of Arianna”): Ariadne wakes, Allegro thinking to share another day with her love, Theseus, only to discover herself EVARISTO Concerto à più Istrumenti in D major, 7’ abandoned, Theseus’ ship still visible on FELICE DALL’ABACO Op. 6, No. 12 the horizon. Thinking it’s a terrible mistake, Allegro she runs frantically along the shore until Grave she collapses and we hear her voice, the Allegro ma non troppo solo violin, in the first of several mournful accompanied recitatives. The return of Please note that the timings provided for this concert are approximate. the opening material depicts her denial of Please turn off all electronic devices and refrain from taking photos or video. her plight, but gradually the naive major Performance ©2020 Seattle Symphony. Copying of any performance by camera, audio or video recording equipment, and tonality yields to dark minor keys. While any other use of such copying devices during a performance is prohibited. Locatelli supplies no explicit narrative, nevertheless the listener hears Ariadne in the plaintive violin and experiences the wild careening of her emotions in

36 SEATTLESYMPHONY.ORG ELISA CITTERIO PROGRAM NOTES Conductor & violin Violinist Elisa Citterio joined Locatelli’s artful vacillations between lyrical mood with an aria from Vivaldi’s opera La Tafelmusik as Music and angular material. Let the listener verità in cimento, in which a beleaguered Director in 2017. She decide whether the final major chord hints soprano reassures her beloved (her moved to Toronto from at a savior waiting in the wings (since the amato ben) that he is her hope and her her native Italy, where most popular version of the myth involves delight, but she asserts that she will not let she divided her artistic Ariadne’s rescue by Dionysus within constancy to him stand in the way of her life between orchestral Photo: Daniel Banko, Banko Media Banko Banko, Daniel Photo: minutes of this concerto). happiness. work and an intense schedule as a chamber musician. She has Evaristo Felice Dall’Abaco (1675–1742) Alessandro Scarlatti (1660–1725) was the recorded and toured, often as leader or began as a cellist in Modena but left Italy most influential vocal composer between concertmaster, with such ensembles as Monteverdi and Handel, and the operas around 1705 never to return. He spent the Dolce & Tempesta, Europa Galante, he wrote in Naples put him at the head next 35 years in the respective retinues Accademia Bizantina, Accordone, Zefiro, la of a line that leads straight to Mozart. His of two Electors of Bavaria, Maximilian II Venexiana, La Risonanza, Ensemble 415, musical life began, however, in Rome, Emmanuel and, after 1726, Maximilian’s in illustrious circumstances: living at the son, Charles Albert. His first decade in the Concerto Italiano, Orquestra del home of Bernini, entertaining cardinals, Electors’ service was mostly spent on the Monsalvat, Il Giardino Armonico, Orchestra popes, and Queen Christina of Sweden. road. France, Spain, the Netherlands and Academia 1750, and Balthasar-Neumann Scarlatti’s Concerto grosso No. 1 in F the German-speaking lands were at war Choir & Ensemble (Thomas Hengelbrock). minor, though published years after his over everything, largely due to various In 2019 she was awarded the Leonardo death, may come from those early days. chinless Hapsburg cousins marrying each Award for Arts, Science & Culture by the It follows a textbook pattern, with a slow other in an effort to become Holy Roman Italian Chamber of Commerce for her introduction leading to a quick fugue, Emperor or King of Spain, and Dall’Abaco’s contribution to the cultural and intellectual then a slow aria and a concluding fast employer ran from pillar to post — Munich, life of Canada. movement, with a little bit of solo string Brussels, Versailles, various towns around writing to set off the orchestral texture. the Netherlands and back. Swept along in In 2000 Citterio was selected as Nevertheless, the emotionality of the the shuffle, Dall’Abaco was able to study concertmaster and soloist with the themes and harmonies transcends the the latest French styles up close, and from orchestra of the Accademia del Teatro alla 1715, when the Elector settled in Munich, essential conservatism of their form. Scala di Milano. Soon after graduating, Dall’Abaco’s music shows the influence of she began studying Baroque violin, taking Giuseppe Valentini (1681–1753) was French orchestral writing. The Concerto a part in master classes with Enrico Onofri, listed on the payrolls of the Roman piu Istrumenti in D major, Op. 6, No. 12 churches for which he played and displays a wonderfully Vivaldian energy and studying with Chiara Banchini at the composed as “Straccioncino,” which in its outer movements but is a decidedly Schola Cantorum Basilensis, and with Luigi means “little ragamuffin.” His instrumental forward-looking piece with enough little Mangiocavallo in Rome. music dates from his early career, and the rococo touches to put a listener in mind of prefaces to most of his published works Rameau or Gluck. From 2004–17 she was a member of the provide a disclaimer that only a curious Orchestra del Teatro della Scala di Milano. person will appreciate the surprising © 2020 John Lenti Citterio played with Stefano Montanari techniques he employs. His Concerto in the Estravagante Ensemble, and from in A minor, Op. 7, No. 11 is the first 2014–16, working alongside Montanari quadruple violin concerto, and the stark as co-chair of the Baroque violin studies textures employed throughout, juxtaposed program at the Civica Scuola di Musica with the fiery solo violin writing, give the Claudio Abbado in Milan. piece an avant-garde feeling even now. For all that our Ragamuffin delighted in Citterio’s discography includes more than his innovations, let’s be thankful that he 35 recordings with Accademia I Filarmonici didn’t hit the big time till 1714, because as (Vivaldi), Europa Galante (Vivaldi and soon as he got a prominent directorship Bach), Zefiro (Handel), Accordone (Storie and some recognition, he stopped writing instrumental music and published di Napoli), Brixia Musicalis (Vivaldi Four nothing more. Seasons), Accademia Bizantina (Handel and Corelli), Il Giardino Armonico (Handel Antonio Vivaldi (1678–1741) scattered and Haydn), La Venexiana (Monteverdi), concertos all over Europe, whether Joachim Quartet (Schuster), Helianthus supplying music to the phenomenal pupils Ensemble (C.P.E. Bach trios), and a number at the Ospedale della pietá in Venice or of opera recordings with the Orchestra to his esteemed colleagues at the court e Coro del Teatro alla Scala under such at Dresden, or merely to give a concerto conductors as Daniel Barenboim, Riccardo to a patron in Vienna as a thank you gift. Chailly, Edward Gardner, Daniele Gatti, The Violin Concerto in C minor, L’amato Daniel Harding, Lorin Maazel and Riccardo shares a key, a title, and a bene, RV 761 Muti.

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PRINCIPAL BENEFACTORS Patricia and Jon Rosen Nader and Oraib Kabbani ° ⁵ The Seattle Symphony acknowledges with gratitude the Eric and Margaret Rothchild Dana and Ned Laird ° ¹⁵ following donors who have made lifetime commitments of Grant and Dorrit Saviers Benjamin and Kelly Martz more than $1 million as of November 22, 2019. Elizabeth and Justus Schlichting Harold Matzner ⁵ Charles and Maria Schweizer Pamela Merriman ¹⁰ 4Culture Yuka Shimizu John and Laurel Nesholm ¹⁵ Dr.* and Mrs.* Ellsworth C. Alvord, Jr. Mel and Leena Sturman Sheila B. Noonan and Peter M. Hartley ¹⁵ Andrew W. Mellon Foundation Atsuhiko and Ina Goodwin Tateuchi Foundation Linda Nordstrom ¹⁵ ArtsFund Virginia B. 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40 SEATTLESYMPHONY.ORG SEATTLE SYMPHONY DONORS

Donald and Ann Frothingham Mark Litt Family DAF of the Steve Schroeder and Cheryl Beighle ⁵ Lydia Galstad ∞ Jewish Federation of Greater Seattle ¹⁰ Nancy and James Schultz + ¹⁰ Jacob Garcia Charles T. Massie ∞ ¹⁵ Janet Sears ∞ ¹⁵ Ruth and Bill* Gerberding ^ ⁵ Anne and Rick Matsen ∞ ⁵ Maria Semple Gail Giacomazzi ⁵ Carolyn and Richard Mattern ¹⁰ Virginia Senear ¹⁵ Catherine E. Gleason ⁵ Dr. and Mrs. Paul McCullough Stephanie and Evan Sent Jeffrey and Martha Golub ¹⁵ John McGarry and Michelle Wernli Shiva Shafii + Erica L. Gomez ⁵ Brooke and Dre McKinney-Ratliff Anne Shinoda-Mettler Bill and Joy Goodenough ¹⁵ Karen and Rick McMichael ∞ ¹⁵ Cindy Shoffner Donna Graddon Melinda McNeely Sill Family Foundation Robert Greco Christine B. Mead ⁵ Yara Silva Maridee Gregory ∞ ⁵ Gunda and Uwe Meissner ⁵ Julie Silvers ∞ ⁵ Marjorie and Samuel Gulkis Gail and John Mensher ¹⁰ John and Jane Simpson Megan Hall and James Janning ⁵ Karen and James Mhyre ⁵ Dr. Charles Simrell and Deborah Giles ¹⁵ Gregory Hamblin Mary Mikkelsen ¹⁵ Jonathan Slawson Drs. Eugene* and Rena Hamburger ⁵ Bruce Miller and Sandra Kroupa Stephen and Susan Smith ⁵ Deena and Don Hanke ∞ ⁵ Laurie Minsk and Jerry Dunietz Michele Souligny ∞ ⁵ Barbara Hannah ¹⁵ Chie Mitsui ∞ Fawn and Jim Spady Dave and Sandy Hanower Phoebe Moon Kathleen and Robert Spitzer ⁵ Linda and Wolfram Hansis ¹⁵ Andrei Moor Doug and Katie Sprugel ⁵ Dr. and Mrs. James M. Hanson ⁵ Gary Moresky ⁵ Stella Stamenova and Chani Johnson Walter Harley and Anne Sustar ¹⁵ Terri Muharsky ⁵ Sylvia Sterne Doug and Barbara Herrington Janet Murphy ⁵ Steve and Sandy Hill Family Fund James R. Harvey Kevin Murphy and Karen Freeman ¹⁵ at the Seattle Foundation ^ ¹⁵ Drs. Robert and Sally Hasselbrack Andrew Murray and Kevin Hardie Delphine and Charles Stevens Ken* and Cathi Hatch ^ ⁵ Marcia Murray Diane Stevens ⁵ Pat Hayenga Mr. and Mrs. J. P. Naughton ¹⁵ Bert Sullam ∞ Admiral and Mrs. Thomas B. Hayward ⁵ David Neagle Mike and Mary Lynn Sutherlin Joshua Hemphill Paul Neal and Steven Hamilton ∞ ⁵ G. M. Teichert Ralph and Gail Hendrickson ⁵ Mark Nelson Bob and Mimi Terwilliger ¹⁰ Terrill and Jennifer Hendrickson ⁵ Kirsten Nesholm ⁵ Peter Chuang and Elaine Tsai ⁵ Mark Hill Robert Ness Warren and Nancy Tucker ⁵ Marvin and Elizabeth Hoekstra Marilyn Newland ¹⁰ Dr. and Mrs. H. B. Tukey ¹⁵ Erik Holt Karen and Sam Ng Raymond Tymas-Jones Bob Holtz and Cricket Morgan ⁵ Martha Noerr and T. Jeffrey Keane ⁵ Marcia Van Doren ⁵ Gwen and Randy Houser ¹⁰ Ken and Pearl Noreen ⁵ Gretchen Van Meter ¹⁵ Mr. Roy Hughes ∞ ¹⁰ Mr. and Mrs. Thomas Olson Johanna P. Van Stempvoort ¹⁵ Dan Hungate Mrs. Jackie A. O’Neil ⁵ Carol Veatch ⁵ Patricia Hunter Thomas Ortenzi Donald J. Verfurth ⁵ Jo Anne Iaciofano Jae Hyun Paek ∞ Silvia Waltner Ralph E. Jackson ¹⁵ John Palo Connie Wang and Zachary Pollack Anne Janes-Waller and Fletch Waller ¹⁰ Dr. Russell Paravecchio ¹⁵ Debra Ward ∞ Martha Jaworski ∞ ⁵ Richard and Sally Parks* ⁵ Judith F. Warshal and Wade Sowers Baochun Jin Neal Patel John Watson ¹⁰ Charles and Joan Johnson ¹⁵ David F. Peck ¹⁵ Marc Wautier ⁵ Clyde and Sandra Johnson ¹⁰ Susan and Brian Pessolano Eugene and Marilyn Webb ⁵ Martha Choe Don and Sue Phillips ⁵ Norma Wells ⁵ Roberth Karman ⁵ Dr. David and Dona Pierson Chris Wendt ¹⁵ Sean and Lisa Kelly ⁵ Valerie and Stanley Piha Mr. Josef Wernli Mike and Mary Killien ¹⁵ Donald Pogoloff ⁵ Greg Wetzel ⁵ Dr. and Mrs. Michael Kimmey ¹⁰ Bec Powell ∞ Caleb Whitmore Virginia King ¹⁰ Ruth Ann and Jim Powers Roger and June Whitson ⁵ W. M. Kleinenbroich ⁵ Lori and Bill Price Bruce Wick and Carmen Spofford ⁵ Albert and Elizabeth Kobayashi ∞ ¹⁵ Alexander Prior Mitch Wilk ⁵ Dr. and Mrs. Masato Koreeda ⁵ Rebecca and Jesse Proudman Delight Willing Andrew N. Kornuta and Xingyu Li Lucy and Herb Pruzan ⁵ Judith and Lin Wilson Binil Kurian Chad Quail Shannon Wilson and Mitchell Johnson Eric Lam ¹⁰ Ann Ramsay-Jenkins ⁵ Aaron Wirsing Ron and Carolyn Langford ¹⁵ Wendy and Murray Raskind ¹⁰ Mark Wittow Law Offices of Lisa Saar ∞ Christopher and Lila Rayl Marsha Wolf and Ken Linkhart + Hock Lee and Sok Seah Reverend Kerry and Robin Reese ¹⁵ Peggy Wolff Christoph Lemoine ∞ ⁵ Cecilia Paul and Harry Reinert ¹⁰ Elizabeth and Troy Wormsbecker ⁵ Virginia and Brian Lenker ∞ ¹⁵ Jason Reuer ⁵ Mrs. Sarah Yeager ⁵ Carol Lewis and Tom Byers Hollace and James Rhodes Ming Yuan Don and Carla Lewis ¹⁰ Jean A. Rhodes ⁵ Rebecca and Joseph Zalke Jerry and Marguerite Lewis ⁵ Valerie Rice Kay H. Zatine ¹⁵ Betty Lewis ¹⁰ John Richardson II ⁵ Mr. and Mrs. George* Zonoff ⁵ Mike Lewis Mr. and Mrs. Charles Riley ⁵ Anonymous (21) Henry Li Joel Rindal John Lillard and Julia Kalmus ⁵ Mark Robbins ♫ 5 5 years of consecutive giving Michael Linenberger and Sallie Dacey ⁵ Dr. and Mrs. Tom Robertson ⁵ 10 10 years of consecutive giving Anamaria T. Lloyd Chuck and Annette Robinson ¹⁰ 15 15 years or more of consecutive giving Steve Loeb Eric Robison ∞ Monthly Sustaining Donor Mr. and Mrs. Bruce C. Lorig ⁵ Mr. and Mrs. Robert Roemer ♫ Musician Lovett-Rolfe Family Trust ⁵ Stan and Michele Rosen ⁵ ° Board Member Richard* and Beverly Luce ¹⁵ David Said Martinez ∞ ^ Lifetime Director Thomas and Virginia Hunt Luce Michael Sandoval + Staff Mr. and Mrs. Louis Lundquist ¹⁰ Sara Delano Redmond Fund * In Memoriam Maria Mackey Lt. Col. Nathan Ray Sawyer Ana and Gustavo Mahler ⁵ Kate and Matthew Scher To our entire donor family, thank you for your support. Rhonda Maloney ∞ ¹⁰ Jill Scheuermann and Russell Paquette You make our mission and music a reality. Mary Ann and Ted Mandelkorn Thomas and Collette Schick Zoey Mann Art Schneider and Kim Street ⁵ Did you see an error? Help us update our records by Elliot Margul ⁵ Dr. and Mrs. Jason Schneier ⁵ contacting [email protected] or 206.215.4832. Mr. and Mrs. Joseph Schocken ⁵ Thank you! Judith Schoenecker and Christopher L. Myers ¹⁰

encorespotlight.com 41 SEATTLE SYMPHONY DONORS SEATTLE SYMPHONY HONORARIUM GIFTS Alice and Paul Hill MEMORIAL GIFTS Richard Lundquist, by Gifts to the Seattle Symphony are a wonderful Norm Hollingshead Gifts were made to the Seattle Symphony Jinja Yutzy DONORS way to celebrate a birthday, honor a friend or Nancy Neraas and Michael King to remember those listed below between Brother Abe Utu Malae, by note an anniversary. In addition to recognition Dana and Ned Laird November 1, 2018 and December 10, 2019. Robert Malae in the Encore program, your honoree Jeff Lehman and Katrina Russell For information on remembering a friend or Kenneth Martin, by will receive a card from the Symphony Marks Family Foundation loved one through a memorial gift, please Leslie J. Chihuly, Chair Emerita acknowledging your thoughtful gift. Benjamin and Kelly Martz contact Donor Relations at 206.215.4832 or Betty McKenzie, by Yoshi and Naomi Minegishi [email protected]. Margaret Spicer Gifts were made to the Seattle Symphony in Gary Morse and Ellen Bowman Virginia Rae McNay, by The Nakajima Family recognition of those listed below between Ginger Ackerly, by The Gilbert Family John and Laurel Nesholm R. Joseph Monsen, by November 1, 2018 and December 10, 2019. Leslie J. Chihuly, Chair Emerita Rosalind Poll Llewelyn G. and Joan Ashby Pritchard Please contact Donor Relations at Paul Allen, by Lucy and Herb Pruzan Reid Morgan, by [email protected] or Leslie J. Chihuly, Chair Emerita Dana Reid and Larry Hitchon Linda Allen 206.215.4832 if you would like to recognize Nancy Alvord, by Vivian and Jim Schwab Carol Batchelder someone in a future edition of Encore. Leslie J. Chihuly, Chair Emerita Seattle Symphony Volunteers Clodagh Ash, by Betty and Bill Bonnett Janet and Thomas Seery Sue and Robert Collett Sarah Andrabi, by Sherry and Larry Benaroya Evelyn E. Simpson Diane Curtis Robin Goldstein and Tim Root The Benaroya Family Carlyn K. Stark Susanne Foster Mary Austin, by Jane Hargraft and Elly Winer Mel and Leena Sturman Jane Hargraft and Elly Winer Janice and Neill Urano Dr. Kennan H. Hollingsworth Patricia Tall-Takacs and Gary Takacs Ilene and Elwood Hertzog Michael H. Beck, by Llewelyn G. and Joan Ashby Pritchard Dr. Robert Wallace Dr. Kennan H. Hollingsworth Patricia and Jon Rosen Elizabeth Bachelor, by Llewelyn G. and Joan Ashby Pritchard Rebecca Benaroya, by Margaret Imhoff Thank you to everyone who made a gift in Stanley R. Oldham, by Vicki Rauscher William Bain, by June 2019 in response to Ludovic’s invitation Margaret and John Albin Jean Baur Viereck Llewelyn G. and Joan Ashby Pritchard to support the Seattle Symphony. A full listing Opa, by Alexi Chou, by Katherine and Eric Merrifield of supporters to this campaign can be viewed Mr. Michael Holst Alex Chou Dr. Aaron Bernstein, by at seattlesymphony.org/ludovic-legacy. Frank Powers, by David Davis, by Ruth Mendelsohn Bernstein Jane Powers Carissa Hussong Jeanne Ehrlichman Bluechel, by Kristen Nyquist, by L.E. and R.M. Reese, by James Feddeck, by Gwen and Larry Brown, and family Senator and Mrs. Daniel J. Evans Valerie and Todd Yerkes Martha and Michael Laslavic Jo Haldeman Pat Prinz, by Bernice Mossafer Rind, by Alexandra Gardner, by Dawn and Paul Meiklejohn Hugh Macmahon Howie Barokas Keith Gardner Louise and Stafford Miller Rachmaninoff and Tchaikovsky, by Lou and Doris Berg Brian Goodwin, by Gus and Rachel Pineda Mike Craig Leslie J. Chihuly, Chair Emerita William E. Franklin Llewelyn G. and Joan Ashby Pritchard James and Sherry Raisbeck, by Miriam Gray Nancy Paige Griffin, by Linda and Wayne Townsen, and family Members of the combined arts and Mr. and Mrs. Andrew Harris Michael Schick and Katherine Hanson Kenneth and Rosemary Willman aviation community: Susan Johannsen, Dr. Kennan H. Hollingsworth Megan Hall, by Bob Bradbury, by Stephen Elop, Joe Clark, Susan Gibbons Charles and Joan Johnson Evan Cartwright Jane Ann Bradbury and Tom Gibbons Mr. Steve Loeb Samantha DeLuna and Jesse Bearden Herb Bridge, by Maurice Ravel, by Ms. Sandy Lundberg Patty Hall, by Leslie J. Chihuly, Chair Emerita Kathleen S. Morris Isa Nelson Michael Hershey Robert D. Brown, by Chris and Becca Riley, by Susan and James Pass Jane Hargraft, by James Wiggins Tanna Williams Margaret Pearl Senator and Mrs. Daniel J. Evans Rev. Frank M. Byrdwell, by Jerome L. Rubin, by Llewelyn G. and Joan Ashby Pritchard Emily R. Hunter, by Frank and Phyllis Byrdwell Patricia and Jon Rosen Rind Family Foundation Anonymous Alec Clowes, by Elisabeth Sandler, by Jo-Ellen and Gregory Smith Martin Johansson, by Anonymous John and Laurel Nesholm Mr. David Thompson Evan Cartwright Margaret “Peggy” Corley, by Maery Simmons and Jacob Roy, by Richard Rosalie Santos, by Silas Josephson, by Anonymous Betsy Groat Anonymous Linda Josephson Kersti Covert, by T.E. and Peggy Spencer, by Deborah Dawn Schaffer, by Diena Lukawski, by Cristina Covert John and Nancy McConnell Amanda Schaffer Russ Mann Richard Cross, by Krishna Thiagarajan, by Jan Shapiro, by Mary Lynch and the Oboe section, by Carla Cross Russ Mann Peter Shapiro Mark Linsey and Janis Traven John and Elizabeth Current, by Charissa Thompson, by Landry Slade, by Marcia Mason, by Jay Wang and Nancy Current Antonio Maldonado Gretchen Van Meter Kathleen and Eric Ottum Ralph Dockham, by Neal Traven and Elizabeth Gray, by Dr. Meredith “Buz” P. Smith, by Ludovic Morlot, by Ms. Andrea Smith-Clarke Mark Linsey and Janis Traven Katherine and Eric Merrifield René and April Ancinas Barney Ebsworth, by Toshio Uno, by Dr. Belinda Towns, by Patty and Jimmy Barrier Leslie J. Chihuly, Chair Emerita Anthony Uno Jane Hargraft and Elly Winer Rebecca Benaroya John Fado, by Stephen Whyte, by Llewelyn G. and Joan Ashby Pritchard The Larry Benaroya Family Foundation Peggy Wolff Mr. and Mrs. Butch Blum Patricia and Jon Rosen Paula Boggs and Randee Fox James D. Fouts Sr., by Sherry Tyler John L. Vifian, by Rosemary and Kent Brauninger Deborah Lee Fouts Jim and Mary Lou Wickwire, by Karen and Larry Gookin Steve and Sylvia Burges David Kanofsky, by Melissa and David Wickwire Beverly Vifian Dr. William Catterall Rae and Howard Mintz Ko-ichiro Yamamoto, by B.K. Walton, by Kent and Barbara Chaplin Andrew Willinger Gregg Hirakawa Penelope Yonge John Delo and Elizabeth Stokes Serge Kardalian, by Gwen Jones Whyte, by Dr. Susan Detweiler Dr. William and Suzanne Phillips Stephen Whyte Liz and Miles Drake Martin Kohlleppel, by Jim and Gaylee Duncan Weiying Chen Jan and Brit Etzold Jane Leeson-Jackson, by Senator and Mrs. Daniel J. Evans Geoffrey Jackson Judith A. Fong Gregory J. Linscott, by William Gates Sr. and Mimi Gardner Gates Barbara Krause Catherine E. Gleason Norman Lipsky, by William Haines Benjamin and Donna Lipsky Lenore Hanauer Hubert Locke, by Jean-François and Catherine Heitz Leslie J. Chihuly, Chair Emerita Doug and Barbara Herrington Llewelyn G. and Joan Ashby Pritchard

42 SEATTLESYMPHONY.ORG SEATTLE SEATTLE SYMPHONY SYMPHONY ENDOWMENT FUND

The Seattle Symphony is grateful to the following donors who have made commitments of $25,000 or more to the Endowment DONORS Fund since its inception. The following list is current as of November 22, 2019. For information on endowment gifts and naming opportunities in Benaroya Hall, please contact Becky Kowals at 206.215.4852 or [email protected].

ESTATE GIFTS $5 Million + $50,000 – $99,999

We gratefully remember the following individuals for their The Benaroya Family Dr.* and Mrs.* Ellsworth C. Alvord, Jr. generosity and forethought, and for including the Seattle Charles Simonyi Fund for Arts and Sciences Estate of Mrs. Louis Brechemin Symphony in their estate or endowed fund. Their generosity Anonymous Estate of Edward S. Brignall provides vital support for the Symphony now and for future Frances O. Delaney* generations. (Estate gifts since September 1, 2017.) $1,000,000 - $4,999,999 John and Carmen* Delo Estate of Lenore Ward Forbes Leslie and Dale Chihuly Shirley Birchfield Estate of George A. Franz The Clowes Fund, Inc. Barbara and Lucile Calef Jean Gardner Priscilla Bullitt Collins* Phyllis B. Clark Estate of Mr. and Mrs. Irvin Gattiker Judith Fong Frances L. Condie Anne Gould Hauberg* The Ford Foundation Trudel Dean Estate of William K. and Edith A. Holmes Dave and Amy Fulton Beverly Jean Deckelmann Susanne F. Hubbach Kreielsheimer Foundation Carmen Delo John Graham Foundation Marks Family Foundation Muriel Anita Eisen Mr. and Mrs. Stanley P. Jones Estate of Gladys and Sam Rubinstein Sherry Fisher Estate of Betty L. Kupersmith Samuel* and Althea* Stroum Marvin J. Flaherty John and Cookie* Laughlin Dr. Robert Wallace Jane B. Folkrod E. Thomas McFarlan Jean Frankland $500,000 – $999,999 Estate of Alice M. Muench Natalie Gendler Nesholm Family Foundation Elizabeth C. Giblin Alex Walker III Charitable Lead Trust Estate of Opal J. Orr Merle P. Griff and Nadine Griff Mack Mrs. John M. Fluke, Sr.* M. C. Pigott Family Ursula Grosser Douglas F. King PONCHO Carol Hahn-Oliver Estate of Ann W. Lawrence Estate of Mrs. Marietta Priebe Sarah C. Hamilton The Norcliffe Foundation Mr. and Mrs. Paul R. Smith Christian Heesemann Estate of Mark Charles Paben Seattle Symphony Volunteers Anita Hendrickson James D. and Sherry L. Raisbeck Foundation Estate of Frankie L. Wakefield Dr. Charles E. Higbee and Mr. Donald D. Benedict Joan S. Watjen, in memory of Craig M. Watjen Estate of Marion J. Waller Susanne F. Hubbach Washington Mutual Edward A. Hudson $100,000 – $499,999 Anonymous Raymond L. Ingram Estate of Glenn H. Anderson $25,000 – $49,999 Betty Jane Kreager Andrew W. Mellon Foundation Mrs. Sylvia B. Kuebler Bob and Clodagh* Ash Edward and Pam Avedisian Nebahat Kuerzel-Themann Dr. and Mrs. Ronald J. Beck Estate of Bernice Baker Marian E. Lackovich Drs. Janet P. and George* Beckmann Estate of Ruth E. Burgess Arlyne Loacker Alan Benaroya Barbara and Lucile Calef Fred J. Lorenz Estate of C. Keith Birkenfeld Mrs. Maxwell Carlson Fern Martin Mrs. Rie Bloomfield* Alberta Corkery* Jean and Peter J. McTavish The Boeing Company Norma Durst* Aileen Miholovich C.E. Stuart Charitable Trust Estate of Margret L. Dutton Helen A. Overton Sue and Robert Collett Estate of Floreen Eastman Richard Robbins Richard* and Bridget Cooley Hugh S. Ferguson* Dorothy Faye Scholz Dr. Susan Detweiler and Dr. Alexander Clowes* Mrs. Paul Friedlander* DJ Smith-Brooks Mildred King Dunn Adele Golub Phillip Soth E. K. and Lillian F. Bishop Foundation Patty Hall Dr. Joseph S. Spinola Estate of Clairmont L. and Evelyn Egtvedt Thomas P. Harville Marion G. Stamper Estate of Ruth S. Ellerbeck Harold Heath* Samuel and Althea Stroum Senator and Mrs. Daniel J. Evans George Heidorn and Margaret Rothschild* William C. White Fluke Capital Management Phyllis and Bob* Henigson Anonymous Estate of Dr. Eloise R. Giblett Michael and Jeannie Herr Agnes Gund Mr. and Mrs. L. R. Hornbeck Helen* and Max* Gurvich JNC Fund Richard and Elizabeth Hedreen Sonia Johnson* Dr. Charles E. Higbee and Mr. Donald D. Benedict David and Karen Kratter Harold* and Mary Fran Hill The Keith and Kathleen Hallman Fund Estate of Mrs. James F. Hodges Estate of Marlin Dale Lehrman Estate of Ruth H. Hoffman Estate of Coe and Dorothy Malone Estate of Virginia Iverson Estate of Jack W. McCoy Estate of Peggy Anne Jacobsson Estate of Robert B. McNett Robert C. Jenkins Jean and Peter J. McTavish Dana and Ned Laird Estate of Shirley Callison Miner Estate of Charlotte M. Malone PACCAR Foundation Bruce R. McCaw Family Foundation Estate of Elizabeth Parke Bruce and Jeanne McNae Mr. and Mrs. W. H. Purdy Microsoft Corporation Keith and Patricia Riffle National Endowment for the Arts Rita* and Herb* Rosen and the Rosen Family Northwest Foundation Jerry and Jody Schwarz Helen A. Overton Seafirst Bank Peach Foundation Security Pacific Bank Estate of Elsbeth Pfeiffer Seattle Symphony Women’s Association Estate of Elizabeth Richards Patricia Tall-Takacs and Gary Takacs Jon and Judy Runstad U S WEST Communications Estate of Joanne M. Schumacher Estate of Dr. and Mrs. Wade Volwiler Weyerhaeuser Company Estate of Marion G. Weinthal The William Randolph Hearst Foundations Estate of Ethel Wood Estate of Helen L. Yeakel Lee and Barbara Yates Estate of Victoria Zablocki Anonymous (2) Anonymous (3) * In Memoriam

encorespotlight.com 43 MUSICAL LEGACY SOCIETY

We offer our sincere thanks to the following individuals who have remembered the Seattle Symphony with a future gift through their estate. Legacy donors help preserve the beauty of symphonic music and enrich the next generation through the sights and sounds of the orchestra. To let us know you have remembered the Seattle Symphony in your planning or to learn more, please contact Director of Major Gifts & Planned Giving Becky Kowals at 206.215.4852 or [email protected]. The following list is current as of November 22, 2019.

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

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

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

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

44 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 November 22, 2019. Thank you for your support — our donors make it all possible!

$500,000+

Seattle Symphony Foundation

$100,000 – $499,999

C.E. Stuart Charitable Trust

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

GOVERNMENT SUPPORT

Important grant funding for the Seattle Symphony is provided by the government agencies listed below. We gratefully acknowledge their support, which helps us to present innovative symphonic programming and to ensure broad access to top-quality concerts and educational opportunities for underserved schools and communities throughout the Puget Sound region. For more information about the Seattle Symphony’s family, school and community programs, visit seattlesymphony.org/families-learning.

encorespotlight.com 45 SEATTLE SYMPHONY BENAROYA HALL GUIDE SPECIAL EVENTS SPONSORS & SYMPHONICA, THE SYMPHONY STORE: COUGH DROPS: Cough drops are available COMMITTEES Located in The Boeing Company Gallery, Symphonica is from ushers. open weekdays from 11am–2pm and 90 minutes prior to Special Events provide significant funding each season SERVICES FOR PATRONS WITH DISABILITIES: all Seattle Symphony performances through intermission. to the Seattle Symphony. We gratefully recognize Benaroya Hall is barrier-free and meets or exceeds all our presenting sponsors and committees who make PARKING: Prepaid parking may be purchased criteria established by the Americans with Disabilities these events possible. Individuals who support the online or through the Ticket Office. Act (ADA). Wheelchair locations and seating for those events below are included among the Individual with disabilities are available. Those with oxygen COAT CHECK: The complimentary coat check Donors listings. Likewise, our corporate and foundation tanks are asked to please switch to continuous partners are recognized for their support in the is located in The Boeing Company Gallery. flow. Requests for accommodations should be Corporate & Foundation Support listings. For more LATE SEATING: Late-arriving patrons will be seated made when purchasing tickets. For a full range of information about Seattle Symphony events, please at appropriate pauses in the performance, and are accommodations, please visit seattlesymphony.org. visit seattlesymphony.org/give/special-events. invited to listen to and watch performances on a monitor SERVICES FOR HARD-OF-HEARING PATRONS: located in the Samuel & Althea Stroum Grand Lobby. OPENING NIGHT GALA, SEPTEMBER 14, 2019 An infrared hearing system is available for patrons CAMERAS, CELL PHONES & RECORDERS: who are hard of hearing. Headsets are available SUPPORTING SPONSOR The use of cameras or audio-recording equipment at no charge on a first-come, first-served basis Nordstrom in The Boeing Company Gallery coat check and is strictly prohibited. Patrons are asked to turn off all CO-CHAIRS personal electronic devices prior to the performance. at the Head Usher stations in both lobbies. Jon Rosen ADMISSION OF CHILDREN: Children under the age of LOST AND FOUND: Please contact the Head Elisabeth Sandler 5 will not be admitted to Seattle Symphony performances Usher immediately following the performance or COMMITTEE except for specific age-appropriate children’s concerts. call Benaroya Hall security at 206.215.4715. April Ancinas Judith Fong EMERGENCY PHONE NUMBER: Please leave the HOST YOUR EVENT HERE: Excellent dates are Leslie Jackson Chihuly Parul Houlahan appropriate phone number, listed below, and your exact available for those wishing to plan an event in the S. Mark Linda Cole Ned Laird seat location (aisle, section, row and seat number) with Taper Foundation Auditorium, the Illsley Ball Nordstrom Zart Dombourian-Eby 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. HOLIDAY MUSICAL SALUTE, DECEMBER 3, 2019 Auditorium, 206.215.4825; Illsley Ball Nordstrom Recital Visit seattlesymphony.org/benaroyahall CO-CHAIRS Hall, 206.215.4776. for more information. Michelle Codd Rebecca Ebsworth

COMMITTEE Bridget Aumell DINING AT BENAROYA HALL Roberta Downey Ronald Koo Tiffany Moss Alexander White LOBBY BAR SERVICE: Food and beverage bars in the Samuel & Althea Stroum Grand Lobby are open 75 minutes prior to Seattle Symphony performances and during intermission. Pre-order at the lobby bars before the performance to avoid CELEBRATE ASIA, MARCH 8, 2020 waiting in line at intermission. CO-CHAIRS MUSE, IN THE NORCLIFFE FOUNDERS ROOM AT BENAROYA HALL: Muse blends the elegance of downtown dining Martha Lee with the casual comfort of the nearby Pike Place Market, offering delicious, inventive menus with the best local and Yoshi Minegishi seasonal produce available. Open two hours prior to most Seattle Symphony performances and select non-Symphony performances. Reservations are encouraged, but walk-ins are also welcome. To make a reservation, please visit COMMITTEE opentable.com or call 206.336.6699. Eunju Kim Yuka Shimizu DAVIDS & CO.: Davids & Co. presents a mashup of barbecue traditions which includes choices like spoon tender pulled Julie Sun pork, homemade quiche of the day, smoked sliced brisket and other delightful surprises, offering the perfect spot to grab Susanna Tran a quick weekday lunch or a casual meal before a show. Davids & Co., located in The Boeing Company Gallery, is open Esther Wu weekdays from 11am–2pm and two hours prior to most performances in the S. Mark Taper Foundation Auditorium.

HONOR COFFEE: High-end espresso, served exceptionally well, in a warm and welcoming environment. Honor Coffee, located in The Boeing Company Gallery, is open weekdays from 6:30am–3:30pm and two hours prior to most performances in the S. Mark Taper Foundation Auditorium.

DELICATUS: Delicatus is Seattle’s own Delicatessen specializing in premium deli sandwiches, salads, specialty meats, artisan cheeses, craft beer and wine. Delicatus @ Benaroya Hall, located on the Second Avenue side of the Hall, is open weekdays from 8am–4pm and two hours prior to most performances in the S. Mark Taper Foundation Auditorium.

CONTACT US

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

GROUP SALES: [email protected] | 206.215.4818

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

46 SEATTLESYMPHONY.ORG Photos: James Holt Community EngagementLaura Reynolds. hosted byVicePresidentofEducation & with MusicDirectorThomasDausgaard The RiteofSpring,followedbyadiscussion working rehearsalofIgorStravinsky’s Open Rehearsal &Discussionfeaturinga All photostaken attheNovember21,2019 SEEN &HEARDAT THE THE

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