JANUARY 2017
SHOSTAKOVICH FESTIVAL TWO POWERFUL CONCERTS THREE RISING STARS MEGAN HILTY SINGS SINATRA & MORE LEARNING ITALIAN WITH PAUL RAFANELLI CONTENTS
Laird Norton is a very proud supporter of the Seattle Symphony. Community building and the pursuit of excellence are core values shared by both the Symphony and Laird Norton. In partnership, we celebrate the relentless pursuit of innovation and musical excellence that unite our community and create lasting legacies.
EAP full-page template.indd 1 10/24/16 2:12 PM CONTENTS JANUARY 2017
4 / CALENDAR
6 / THE ORCHESTRA
8 / SIMPLE GIFTS
10 / NOTES
FEATURES
12 / BREAKING THE FRAME Can Shostakovich escape our demands for a political martyr?
14 / IF LUCK BE A LADY Her name might be Megan Hilty
CONCERTS 17 / January 5, 7 & 8 BEETHOVEN SYMPHONY NO. 9
26 / January 10 WINDBORNE’S THE MUSIC OF DAVID BOWIE: A ROCK SYMPHONY WITH THE SEATTLE SYMPHONY
28 / January 13–15 LUCK BE A LADY MEGAN HILTY SINGS SINATRA & MORE
30 / January 19 SHOSTAKOVICH CONCERTO FESTIVAL I
34 / January 20 28 / MEGAN HILTY SHOSTAKOVICH CONCERTO FESTIVAL II Photo: Sidney Beal Sidney Photo:
36 / January 26 & 28 MENDELSSOHN & SCHUBERT
40 / January 27 SCHUBERT UNTUXED
42 / January 27 [UNTITLED] 2
54 / GUIDE TO THE SEATTLE SYMPHONY 30 / KEVIN AHFAT 30 / ALEKSEY SEMENENKO
55 / THE LIS(Z)T
ON THE COVER: Edgar Moreau (p. 30) by Julien Mignot COVER DESIGN: Jessica Forsythe EDITOR: Heidi Staub
© 2017 Seattle Symphony. All rights reserved. No portion of this work may be reproduced in any form or by any electronic or mechanical means without written permission from the Seattle Symphony. All programs and artists are subject to change.
encoreartsseattle.com 3 ON THE DIAL: Tune in to January & Classical KING FM 98.1 every February Wednesday at 8pm for a Seattle Symphony spotlight and CALENDAR the first Friday of every month at 9pm for concert broadcasts.
SUNDAY MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY SATURDAY
■ JANUARY 7:30pm 8pm Beethoven Beethoven Symphony No. 9 Symphony No. 9
1 2 3 4 5 6 7
1pm 7:30pm 8pm 7:30pm Metropolitan Opera Live @ Benaroya Luck Be A Lady EMG presents National Council Hall: Windborne’s Megan Hilty Sings Musica Pacifica: Auditions The Music of David Sinatra & More Alla Napolitana Bowie: A Rock 8pm Luck Be A Lady 2pm Symphony with the Megan Hilty Sings Beethoven Seattle Symphony Sinatra & More Symphony No. 9 8 9 10 11 MEGAN HILTY12 13 14
2pm 7:30pm 8pm Luck Be A Lady Shostakovich Shostakovich Megan Hilty Sings Concerto Festival I Concerto Festival II Sinatra & More
15 NATIONAL16 GEOGRAPHIC LIVE17 18 19 20 21
2pm 12:30pm Watjen 7:30pm 7:30pm 7pm 2pm National Geographic Concert Organ National Geographic Mendelssohn Schubert Untuxed Seattle Philharmonic Live: Point of No Recital – Free Demo Live: Point of No & Schubert Orchestra: Mozart’s Return Return Piano Concerto No. 24 7:30pm National 10pm Geographic Live: 7:30pm [untitled] 2 8pm Point of No Return UW Side-by-Side Mendelssohn Concert & Schubert 22 23 24 25 26 27 28
12pm Roosevelt HS ■ FEBRUARY 7:30pm 7:30pm EMG 10am & 12pm Side-by-Side Concert Emanuel Ax presents Seattle Sensory Friendly 10am Friends Open Beethoven Emperor Baroque Orchestra: Concerts: Two Cats 7pm NWAA, KNKX Rehearsal* Le Mozart Noir 88.5 FM & The 8pm Emanuel Ax Beethoven Emperor Stranger present 7:30pm Seattle Arts 7:30pm CAF An Evening with Ira & Lectures presents presents Masters of 8pm Seattle Music Glass Exchange Project 29 30 31 Helen Macdonald 1 2 Scottish Arts 3 4
10am & 12pm 7:30pm 7:30pm Northwest 8pm Sensory Friendly Hilary Hahn Bruch Sinfonietta: Hilary Hanh Bruch Concerts: Two Cats Violin Concerto No. 1 Prokofiev & Violin Concerto No. 1 Tchaikovsky
8pm Leonidas Kavakos & Yuja 5 6 7 8 9 Wang in Recital 10 11
2pm 7:30pm 7:30pm 10:30am Tiny Tots: 9:30, 10:30 & 11:30am Hilary Hahn Bruch Joseph Adam Live @ Benaroya Mother Goose Goes Tiny Tots: Mother Goose Violin Concerto No. 1 Hall: Taylor Hicks to the Symphony Goes to the Symphony 2 & 8pm Joshua Bell 7pm 8pm Joshua Bell Tchaikovsky Violin Concerto Byron Schenkman Tchaikovsky Violin 7:30 pm Seattle & Friends: Russians Concerto Repertory Jazz & Jews 12 13 14 HILARY HAHN15 16 17 Orchestra 18
12 & 5:30pm 7:30pm 10am 8pm 8pm WA Music Educators Schubert Octet Friends Onstage Bach & Handel Bach & Handel Association Rehearsal* Concerts 7:30pm 8pm Live @ Benaroya Hall Live @ Benaroya RAIN: A TRIBUTE Hall: Hot Tuna TO THE BEATLES 19 20 21 22 23 24 25
2pm National 7:30pm 7:30pm Geographic Live: National Geographic National Geographic The Risky Science of Live: The Risky Live: The Risky Exploration Science of Science of 2pm Pacific Exploration Exploration MusicWorks presents Handel’s Tenor: Beard’s Beauties 26 27 28 NATIONAL GEOGRAPHIC LIVE
LEGEND: Seattle Symphony Events Benaroya Hall Events *Donor Events: Call 206.215.4832 for more information
Photos: Megan Hilty (January 13–15) by Sidney Beal; National Geographic Live (January 22–24) by Hilaree O’Neill; 4 SEATTLESYMPHONY.ORG Hilary Hahn (February 9, 11 & 12) by Michael Patrick O’Leary; National Geographic Live (February 26–28) by Wes Skiles
SSO057-Calendar.indd 1 12/22/16 3:09 PM ■ ON THE BEAT See Who’s Here to Hear
Through Sep 10, 2017
MOHAI.org | #edibleMOHAI
FIRST TIME AT THE 5TH! THE PAJAMA GAME FEBRUARY 10 – MARCH 5, 2017
Things are getting pretty steamy at the Sleep- Photo: James Holt James Photo: Tite Pajama Factory where the new boss is falling hard for the fiery union rep. Sparks fly “I come to concerts all the time. I’m a when the workers go on strike. It seems love, huge Beethoven fan. I mean, over the sex and politics are as hot as ever. top. Did you know his favorite meal was macaroni and cheese? His Ninth Symphony is so fantastic, but Seven is wicked good. The louder the better! I was raised in the ‘60s and ‘70s, so I grew A COMEDY TO DIE FOR! up listening to a lot of rock and roll — The Beatles, Creedence, Rolling Stones. Now MURDER FOR TWO I mostly listen to Classical KING FM and MARCH 25 – JUNE 11, 2017 NPR. I also enjoy gardening. I helped put A Co-Production presented at ACT- A Contemporary Theatre together a 28,000 square foot garden for a community out in Issaquah where I live, Everyone is a suspect in Murder for Two—a drop-dead funny murder mystery musical so I guess you could say I’m enjoying with a twist: One actor investigates the crime; harvesting green beans and listening to the other plays all the suspects—and they classical music right now.” both play the piano! A zany blend of classic — Gary musical comedy and madcap mystery, this ninety-minute whodunit is a highly theatrical duet loaded with killer laughs. CONNECT WITH US: Share your photos using #SeattleSymphony and follow @seattlesymphony on Facebook, Instagram and Twitter. Download the Listen THE 5TH AVENUE THEATRE - THE NATION’S LEADING MUSICAL THEATER! Boldly app to easily purchase tickets, skip the ( ) Ticket Office lines and receive exclusive offers. 206 625-1900 WWW.5THAVENUE.ORG GROUPS OF 10 OR MORE CALL 1-888-625-1418 | ON 5TH AVENUE IN DOWNTOWN SEATTLE
2016/17 SEASON SPONSORS
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encoreartsseattle.com 5 LUDOVIC MORLOT SEATTLE SYMPHONY MUSIC DIRECTOR
French conductor Ludovic will also see the release of several more recordings on the Morlot has been Music Director Orchestra’s label, Seattle Symphony Media. A box set of of the Seattle Symphony music by Dutilleux was recently released to mark the 100th since 2011. Amongst the anniversary of the composer’s birth. many highlights of his tenure, the orchestra has won two Ludovic Morlot was Chief Conductor of La Monnaie for Grammy Awards and gave an three years (2012–14). During this time he conducted several exhilarating performance at new productions including La Clemenza di Tito, Jenu°fa Carnegie Hall in 2014. and Pelléas et Mélisande. Concert performances, both in Brussels and Aix-en-Provence, included repertoire by During the 2016–2017 season Beethoven, Stravinsky, Britten, Webern and Bruneau. Morlot and the Seattle Symphony will continue to Trained as a violinist, Morlot studied conducting at the invite their audiences to Royal Academy of Music in London and then at the Royal “listen boldly,” presenting College of Music as recipient of the Norman del Mar
Photo: Lisa-Marie Mazzucco Lisa-Marie Photo: Ravel’s L’enfant et les Conducting Fellowship. Morlot was elected a Fellow of sortilèges, completing their the Royal Academy of Music in 2014 in recognition of his cycle of Beethoven symphonies and piano concertos and several significant contribution to music. He is Chair of Orchestral world premieres including compositions by Agata Zubel and Gabriel Conducting Studies at the University of Washington School Prokofiev. All of this will be complemented by the Seattle Symphony’s of Music and lives in Seattle with his wife, Ghizlane, and highly innovative series, Sonic Evolution and [untitled]. This season their two children.
SEATTLE SYMPHONY ORCHESTRA ROSTER
LUDOVIC MORLOT Thomas Dausgaard, Principal Guest Conductor Pablo Rus Broseta, Douglas F. King Associate Conductor Harriet Overton Stimson Music Director Joseph Crnko, Associate Conductor for Choral Activities Gerard Schwarz, Rebecca & Jack Benaroya Conductor Laureate
FIRST VIOLIN Mara Gearman Judy Washburn Kriewall HORN HARP Open Position Timothy Hale Zartouhi Dombourian-Eby Jeffrey Fair Valerie Muzzolini Gordon David & Amy Fulton Concertmaster Vincent Comer Charles Simonyi Principal Horn Principal Open Position Penelope Crane PICCOLO Mark Robbins Supported by Eliza and Brian Shelden Clowes Family Associate Concertmaster Wesley Anderson Dyring Zartouhi Dombourian-Eby Associate Principal Cordula Merks Sayaka Kokubo Robert & Clodagh Ash Piccolo Jonathan Karschney KEYBOARD Assistant Concertmaster Rachel Swerdlow Assistant Principal Kimberly Russ, piano +** Simon James Julie Whitton OBOE Jenna Breen Joseph Adam, organ + Second Assistant Concertmaster Mary Lynch John Turman PERSONNEL MANAGER Jennifer Bai CELLO Principal Adam Iascone Mariel Bailey Efe Baltacıgil Supported by anonymous donors Scott Wilson Cecilia Poellein Buss Marks Family Foundation Principal Cello Ben Hausmann TRUMPET ASSISTANT PERSONNEL Ayako Gamo Meeka Quan DiLorenzo Associate Principal David Gordon MANAGER Timothy Garland Assistant Principal Chengwen Winnie Lai The Boeing Company Principal Trumpet Supported by their children in memory of Keith Higgins Leonid Keylin Stefan Farkas Alexander White Helen and Max Gurvich Mae Lin Assistant Principal Eric Han LIBRARY Mikhail Shmidt ENGLISH HORN Geoffrey Bergler Bruce Bailey Clark Story Stefan Farkas Patricia Takahashi-Blayney John Weller Roberta Hansen Downey TROMBONE Principal Librarian Walter Gray Robert Olivia Jeannie Wells Yablonsky CLARINET Ko-ichiro Yamamoto Vivian Gu Associate Librarian Arthur Zadinsky Benjamin Lulich Principal Joy Payton-Stevens Jeanne Case Mr. & Mrs. Paul R. Smith Principal David Lawrence Ritt SECOND VIOLIN David Sabee Librarian Clarinet Stephen Fissel Elisa Barston Laura DeLuca Rachel Swerdlow Principal BASS Assistant Librarian Dr. Robert Wallace Clarinet BASS TROMBONE Michael Miropolsky Jordan Anderson Eric Jacobs Stephen Fissel John & Carmen Delo Mr. & Mrs. Harold H. Heath TECHNICAL DIRECTOR Assistant Principal Second Violin Principal String Bass Joseph E. Cook E-FLAT CLARINET TUBA Kathleen Boyer Joseph Kaufman ARTIST IN ASSOCIATION Assistant Principal Laura DeLuca Christopher Olka** Gennady Filimonov Dale Chihuly Evan Anderson Ted Botsford Principal BASS CLARINET Natasha Bazhanov Jonathan Burnstein HONORARY MEMBER Brittany Boulding Jennifer Godfrey Eric Jacobs TIMPANI Cyril M. Harris † Stephen Bryant Travis Gore Michael Crusoe Linda Cole Jonathan Green BASSOON Principal + Resident Xiao-po Fei Seth Krimsky Matthew Decker Artur Girsky FLUTE Principal Assistant Principal † In Memoriam Andrew Yeung Open Position Paul Rafanelli ** On Leave Principal Mike Gamburg PERCUSSION VIOLA Supported by David J. and Shelley Michael A. Werner Hovind Susan Gulkis Assadi CONTRABASSOON Principal Jeffrey Barker PONCHO Principal Viola Mike Gamburg Michael Clark Associate Principal Arie Schächter Matthew Decker Assistant Principal
6 SEATTLESYMPHONY.ORG ■ PAUL RAFANELLI Bassoon
presents Global Rhythms February 10, 7:30PM
Anna & Elizabeth Rustic Appalachian-inspired ballads and hymns with multimedia performance artist Miwa Matreyak Haunting music, magical animation, shadow play Photo: James Holt/Wines of Washington Tasting Room Tasting Holt/Wines Washington James Photo: of
When Paul Rafanelli was growing up in Seattle, his father would play recordings of Italian operas and singers. “My dad’s father was Italian and his mother was first generation,” says Rafanelli. “They spoke some Italian amongst themselves, but not with me and not with the other grandkids.”
Today Rafanelli is reconnecting with his Italian heritage. “I actually started studying Italian while I was at the University of Washington,” says Rafanelli. “Growing up in an Italian family I thought I should learn it too.” He began playing with the Seattle Symphony in 1992. He says that he began seriously studying Italian again about five years ago, even moving to Verona, Italy for a month: “I lived with an Italian family who didn’t speak English, so that was a good way to learn. You need other people to practice speaking a language.”
He still listens to opera and classical singers, but “I’ve lately tried to get a broader perspective on music,” says Rafanelli. “I’m starting to explore classic jazz and pop music from the ‘60s. I love Dionne Warwick, that’s sort of a guilty pleasure, and I love Ella Fitzgerald, but I listen to classical singers because that’s how I want to sound when I play.” TOWNHALLSEATTLE.ORG For more on the Seattle Symphony, visit seattlesymphony.org/stories.
encoreartsseattle.com 7
EAP 1_3 V template.indd 1 11/29/16 9:49 AM ■ SIMPLE GIFTS Mary’s Place
The Seattle Symphony partners with Mary’s Place, an organization that empowers homeless women, children and families to reclaim their lives. Mary’s Place provides respite, nutrition, safety and shelter in a setting where self-confidence is restored, hope is discovered and a new future begins. They currently operate six emergency night shelters for families and two day centers.
This season community members from Mary’s Place are working with Seattle Symphony Teaching Artist Becky Aitken to reinterpret and reimagine one of the holidays represented in Charles Ives’ New England Holidays through the lens of their own experiences. The resulting visual narratives will be presented with poetry by Seattle’s civic poet Claudia Castro Luna during the Masterworks Season concerts on February 2 and 4, 2017.
Mary’s Place is one of 16 partners in the Seattle Symphony’s Simple Gifts initiative which brings the healing power of music to those who
Photo: James Holt James Photo: previously or are currently experiencing homelessness.
■ OUR MISSION THE SEATTLE SYMPHONY UNLEASHES THE POWER OF MUSIC, BRINGS PEOPLE TOGETHER, AND LIFTS THE HUMAN SPIRIT.
SEATTLE SYMPHONY BOARD OF DIRECTORS
Jon Rosen Kjristine Lund Dick Paul Secretary* Vice Chair, Audiences & Communities* Vice Chair, Governance* LESLIE JACKSON CHIHULY, Chair* Michael Slonski Woody Hertzog Stephen Whyte Treasurer* Vice Chair, Development* Vice Chair, Finance*
DIRECTORS Nader Kabbani Carmen Spofford Ruth Gerberding Linda Stevens Marco Abbruzzese Elizabeth Ketcham President, Seattle Symphony James Gillick Patricia Tall-Takacs Rebecca Layman Amato Ryo Kubota Volunteers Barbara Goesling Marcus Tsutakawa René Ancinas Ned Laird* Valerie Muzzolini Gordon Gerald Grinstein Cyrus Vance, Jr. Orchestra Representative Claire Angel Paul Leach* Cathi Hatch Karla Waterman Zartouhi Dombourian-Eby Sherry Benaroya Jeff Lehman Steven Hill Ronald Woodard Orchestra Representative James Bianco Dawn Lepore Ken Hollingsworth Arlene Wright Simon Woods Rosanna Bowles Brian Marks* Pat Holmes President & CEO SEATTLE SYMPHONY Renée Brisbois Michael Mitrovich David Hovind FOUNDATION BOARD OF DIRECTORS Paul Brown Hisayo Nakajima LIFETIME DIRECTORS Henry James Cookie Neil Hubert Locke Jean-François Heitz Susan Detweiler Llewelyn Pritchard Nancy Neraas J. Pierre Loebel President Kathy Fahlman Dewalt Chair Laurel Nesholm* Kenneth Martin Kathleen Wright Larry Estrada Richard Albrecht Sheila Noonan Yoshi Minegishi Vice President Nancy Evans Susan Armstrong Jay Picard* Marilyn Morgan Michael Slonski Jerald Farley Robert Ash Dana Reid Isa Nelson Treasurer Judith Fong William Bain Elisabeth Beers Sandler Marlys Palumbo James Bianco Brian Grant Bruce Baker Bayan Towfiq Sally G. Phinny Brian Grant Martin L. Greene Cynthia Bayley Nicole Vogel James Raisbeck Jeremy Griffin Alexandra Brookshire Leslie Jackson Chihuly Robert Wallace Sue Raschella Patty Hall Phyllis Byrdwell J. Pierre Loebel Terry Hecker Bernice Rind Laurel Nesholm DESIGNEES Phyllis Campbell Jill Ruckelshaus Jean-François Heitz* Mary Ann Champion David Tan Robin Denis H. Jon Runstad Joaquin Hernandez Robert Collett Muriel Van Housen President, Seattle Symphony Chorale Martin Selig Parul Houlahan David Davis Rick White Ryan Douglas John Shaw Jeff Hussey Dorothy Fluke President, WolfGang Advisory Walter Ingram Langdon Simons, Jr.+ * Executive Committee Member Council David Fulton Charles Z. Smith+ Susan Johannsen Jean Gardner + In Memoriam
BENAROYA HALL BOARD OF DIRECTORS
NED LAIRD, President Mark Reddington, Vice President Dwight Dively Chris Martin Leo van Dorp Nancy B. Evans, Secretary Zartouhi Dombourian-Eby Tom Owens Simon Woods Michael Slonski, Treasurer Jim Duncan Fred Podesta
8 SEATTLESYMPHONY.ORG SEATTLE SYMPHONY | BENAROYA HALL ADMINISTRATIVE STAFF
SENIOR MANAGEMENT TEAM Lauren Eastman, Francis Ho, Everett Bowling, Veronica Boyer, Simon Woods Brendan McCullen Evelyn Gershen President & CEO Discovery Coordinators Assistant Head Ushers Leslie Jackson Chihuly Chair Ron Hyder Charlie Wade COMMUNICATIONS Technical Coordinator Senior Vice President of Marketing You You Xia & Business Operations Public Relations Manager DEVELOPMENT Jennifer Adair Heidi Staub Shaina Shepherd Vice President & General Manager Editor & Publications Manager Development Officer (Assistant to VP of Maureen Campbell Melville James Holt Development & Grants) Vice President & Chief Financial Officer Digital Content Manager Jennifer Alley Rosalie Contreras Andrew Stiefel Interim Campaign Director Vice President of Communications Social Media & Content Manager Betsy Wohlers Elena Dubinets Development Officer (Campaign) Vice President of Artistic Planning MARKETING Becky Kowals Jane Hargraft Christy Wood Director of Major Gifts and Planned Giving Vice President of Development Director of Marketing Nicholas Walls, Marsha Wolf Kristen NyQuist Rachel Spain Major Gift Officers Director of Board Relations Marketing Manager Amy Bokanev & Strategic Initiatives Kyle Painter Gift Officer Laura Reynolds Marketing Operations Coordinator Jessica Lee Director of Education & Community Barry Lalonde Development Coordinator (Major Gifts) Engagement Director of Digital Products Paul Gjording Jason Huynh Senior Major Gift Officer EXECUTIVE OFFICE Digital Marketing Manager (Foundations & Government Relations) Rachel Moore Herb Burke Megan Hall Executive Assistant to the President & CEO and Tessitura Manager Annual Fund Senior Manager Senior Vice President Gerry Kunkel Alicia Archambault Stewardship Manager ARTISTIC PLANNING Corporate & Concierge Accounts Manager Martin K. Johansson Paige Gilbert Jessica Forsythe Development Communications Manager Assistant Artistic Administrator Art Director Jacob Roy Rose Gear Helen Hodges Data Operations Manager Personal Assistant to the Music Director Graphic Designer Maery Simmons Dmitriy Lipay Forrest Schofield Data Entry Coordinator Director of Audio & Recording Group Services Manager AlanaJewelry.com 206.362.6227 Tami Horner Blaine Inafuku Joe Brock Northgate Mall Seattle, WA Retail Manager Senior Manager of Special Events Artist Services, Media & Chorale Manager & Corporate Development Christina Hajdu Zoe Funai ORCHESTRA & OPERATIONS Sales Associate Special Events Manager Kelly Woodhouse Boston Brent Olsen Ryan Hicks Director of Operations Ticket Sales Manager Corporate Development Manager SEATTLE Ana Hinz Aaron Gunderson EAP 1_6 V template.indd 1 9/20/16 11:26 AM Production Manager Assistant Sales Manager FINANCE & FACILITIES CHAMBER Nina Cesarrato, Molly Gillette Scott Wilson David Nevens Ticket Office Coordinators MUSIC Personnel Manager Controller Asma Ahmed, Mary Austin, Keith Higgins Clem Zipp SOCIETY Melissa Bryant, Yasmina Ellis, Assistant Personnel Manager Assistant Controller JAMES EHNES Carla Moar, Mike Obermeyer, Artistic Director Patricia Takahashi-Blayney James Bean, CaraBeth Wilson, Lance Glenn Principal Librarian Elizabeth Ylaya Information Systems Manager Robert Olivia Ticket Services Associates Megan Spielbusch Associate Librarian Accounting Manager STARTING SOON! VENUE ADMINISTRATION Jeanne Case Jacqueline Moravec Librarian Matt Laughlin Payroll/AP Accountant Director of Facility Sales Joseph E. Cook Marwa Aliwi WINTER FESTIVAL Technical Director James Frounfelter, Adam Moomey Staff Accountant Event & Operations Managers JANUARY 20-29, 2017 Mark Anderson, Jeff Lincoln Bernel Goldberg Assistant Technical Directors Sophia El-Wakil General Counsel ILLSLEY BALL NORDSTROM RECITAL HALL at Benaroya Hall Facilities Sales & Operations Coordinator Chris Dinon, Don Irving, Aaron David Ling Gorseth, John Roberson, Michael Keith Godfrey Facilities Director Schienbein, Ira Seigel House Manager BOX OFFICE Stage Technicians Kevin Baker 206.283.8808 // seattlechambermusic.org Tanya Wanchena Facilities Manager Assistant House Manager & Usher Scheduler EDUCATION & Bob Brosinski COMMUNITY ENGAGEMENT Milicent Savage, Patrick Weigel Lead Building Engineer Assistant House Managers Kristin Schneider, Becky Spiewak Damien De Witte Tickets Education & Community Engagement Managers Dawn Hathaway, Lynn Lambie, Mel Building Engineer on sale Longley, Ryan Marsh, Markus Rook Katie Hovde Rodney Kretzer Head Ushers now! Program Associate Facilities & Security Coordinator Jessica Andrews-Hall, Samantha Bosch, Lena Console, Sonya HUMAN RESOURCES Harris, Jesse Harvey, Rafael Kathryn Osburn Howell, Zachary Kambour, Shelby Leyland, Leslie McMichael, Rebecca Human Resources Generalist Morhlang, Dana Staikides Karya Schanilec Teaching Artists Receptionist/Marketing Assistant
CONTACT US
TICKETS: 206.215.4747 | DONATIONS: 206.215.4832 | ADMINISTRATIVE OFFICES: 206.215.4700 VISIT US ONLINE: seattlesymphony.org | FEEDBACK: [email protected]
encoreartsseattle.com 9 NEWS FROM: ■ GRAMMY WATCH SIMON WOODS, PRESIDENT & CEO
Welcome to Benaroya Hall!
The New Year is for many of us a time for resolutions and new commitments. Here at the Symphony we re-commit again to another year of passionate investment in the twin poles of our work — adventurous programming and performances, and deep
Photo: Brandon Patoc Brandon Photo: commitment to community engagement. We take very seriously our responsibilities as one of Seattle’s most prominent performing arts organizations to take forward Dmitriy Lipay, cellist David Sabee, Board Chair our art form in new ways, build new audiences and share the inspiration of Leslie Jackson Chihuly and Simon Woods at the great music as widely as possible. 2016 Grammy Awards.
I’m so proud that our label has been nominated for two Grammy Awards Seattle Symphony Media has been this year. Congratulations to Ludovic Morlot, the musicians, and especially nominated in two categories for the father and son engineering duo, Dmitriy and Alexander Lipay, for their 59th Grammy Awards — Best Surround amazing work. Read more about our nominations and our world-class Sound Album and Best Engineered producer and engineer to the right. Album, both for the third installment in our all-Dutilleux series. This follows the In October Ludovic Morlot, Ives scholar Larry Starr, visual artist Becky Grammy win last year for the second Aitken, poet Claudia Castro Luna and 24 participants from Compass volume of Dutilleux works on the Seattle Housing Alliance, Mary’s Place and Catholic Housing Services met for the Symphony Media label. first time to begin creating original poetry and artwork in response to “We’re absolutely thrilled,” said President & CEO Simon Woods. “We have a lot of Charles Ives’ New England Holidays. You will see and hear their work during things in our favor: a great orchestra, a the February 2 and 4 Masterworks performances of this piece. This project great hall and an absolutely world-class is a part of our Simple Gifts initiative, which brings the healing power of engineer. Nobody makes an orchestra music to those who previously or are currently experiencing homelessness, sound better than Dmitriy Lipay.” with the hope of sparking conversation, inspiring reflection and amplifying Seattle Symphony’s Director of Audio the voice of the participants, all while building deeper connections with the & Recording Dmitriy Lipay has nearly wider Symphony audience. I invite you to come back in February to be a three decades of experience as an part of this exciting experience. audio engineer and recording producer. Following a career with Russian National TV Thank you for joining us today and I hope you enjoy the music! & Radio in St. Petersburg, Russia, where he produced TV and radio programs featuring Simon Woods numerous classical luminaries, he was a President & CEO producer, engineer and editor with Sony Classical in both St. Petersburg and New York. His work has appeared on numerous record labels including Cantaloupe Music, Crystal Records, Harmonia Mundi, JVC
Classics, Naxos, Romeo Records and Sony Classical. He has produced classical
music recordings and broadcasts for major networks around the world, including the BBC, FR3, NHK, NPR, PBS and Philips. In NOTA BENE { 2014, 2015 and 2016, he received four Emmy Awards for his work on the All-Star DATE CHANGE The Seattle Symphony’s ninth annual Celebrate Asia will be held at
Orchestra televised series on PBS. In Benaroya Hall on Friday, May 12, at 7pm instead of the previously scheduled date of 2015 and 2016 he received four Grammy Sunday, March 26, at 4pm. Patrons who have already purchased tickets will receive new
nominations: Producer of the Year, Classical tickets by mail. Please contact the Ticket Office at 206.215.4747 with any questions or to (2015), and Best Engineered Album purchase tickets to this memorable concert! { { category (two in 2015, one in 2016). Pick up the individual CDs or a three-
YOUR NATIONAL GEOGRAPHIC FIX We welcome back the National Geographic Live disc commemorative box set of the series! This season features everything from mountain summits to subaquatic caves… Dutilleux series at Symphonica, The and even Mars! Check out the whole line-up at seattlesymphony.org. Sunday matinees Symphony Store, at Benaroya Hall. Digital have best availability, so get your subscription now! downloads and CDs are available through { iTunes and Amazon. 10 SEATTLESYMPHONY.ORG “
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APR 7 -9, 2017 April 7, Fri 7:30pm Tickets: 800.880.0188 April 8, Sat 2:00pm & 7:30pm Marion Oliver McCaw Hall April 9, Sun 1:00pm ShenYun.com/seattle 321 Mercer St, Seattle, WA 98109 Prices: $70 - $180
EAP full-page template.indd 1 11/16/16 3:52 PM BREAKING THE FRAME Can Shostakovich escape our demands for a political martyr? BY ANDREW STIEFEL
Crowds gathered outside the Waldorf-Astoria Hotel in New York. Demonstrators marched in the streets. Placards reading “Shostakovich! Jump thru the window!” bobbed in the picket lines.
Dmitri Shostakovich stayed in bed.
The Cultural and Scientific Conference for World Peace, held in New York City in 1949, was one of the first great propaganda battles fought between the United States and the Soviet Union at the start of the Cold War. Shostakovich’s Fifth and Seventh Symphonies were widely popular in the United States during World War II, and, during his visit to New York, the press feverishly covered his appearances. On the final night of the conference, Shostakovich played a piano arrangement from his Fifth Symphony for an audience of 18,000 in Madison Square Garden.
After the iron curtain began to fall, U.S. audiences wanted to claim the Soviet composer as a kindred spirit, a martyr for freedom of expression. Over the years, that mythology has taken root and grown around Shostakovich, threatening to bury his music behind the two-dimensional caricature of a political dissident. Although debate will continue for years over his life and music, we know that Shostakovich was skilled at courting and wielding political power. He was an outwardly loyal supporter of the party, who, at times,
12 SEATTLESYMPHONY.ORG Make Before he arrived in New York in 1949, BREAKING yourArt Shostakovich answered his phone one Day Job THE FRAME day and was told to hold: Comrade Stalin wanted to speak to him. Can Shostakovich escape our demands for a political martyr? BY ANDREW STIEFEL
despaired about his role in promoting — music doesn’t exist outside the a regime that punished his colleagues government. It doesn’t exist at all. Instead while rewarding him with fame and composers, like artists everywhere, learn influence. a delicate social dance to promote and secure support for their work. Before he arrived in New York in 1949, Shostakovich answered his phone one We live out our lives in front of a tapestry day and was told to hold: Comrade of political and world events, our own Stalin wanted to speak to him. Stalin memories more vivid and poignant than Arts expressed surprise that the composer something happening a world away. had declined an invitation to attend the Artists are no different. Shostakovich’s Leadership peace conference in New York. Was he concertos, written for close friends and feeling unwell? Shostakovich replied that family members, span his career and he was, in fact, feeling nauseated: the provide glimpses into the development of Programs music of his fellow composers, Sergey one of the 20th century’s most influential Prokofiev and Aram Khatchaturian, composers. From his piano concertos, had not been played in the Soviet written first for himself and then for his Union in over a year. Many of his own son; to his violin and cello concertos, compositions were banned. Silence. dedicated to his closest friends; we can Finally Stalin spoke, promising that he experience the wit, the irony, the hope, would correct those “illegal” orders. the despair and even the joy that fills his music. We meet Shostakovich on his Shostakovich went to New York. terms.
After returning from the conference, Ultimately, Shostakovich’s contradictions Upcoming Events Shostakovich repaid Stalin with several — loyal party supporter and artist [RE]CONNECT: works, including an oratorio, The Song conflicted by private doubts — are what Seattle Arts Leadership of the Forests, and the film score to The make his music so powerful. When Fall of Berlin. In return, his music was we force an artist into a frame that fits Conference performed throughout the USSR and our desire for ideological purity, the Saturday, January 28 he received privileges reserved for the contradiction of their art is lost, filled party elite: political power as the head instead with our own implicit biases. MFA Program of the Russian Federation’s Union of Without the imperfections, we are left Composers and private residences in the with only the propaganda. Imperfections Info Sessions: countryside where he spent summers create space for our own emotions, (all 6:30-8pm) composing. thoughts and experiences to enter the Thursday, January 12 music. Monday, February 6 Calling Shostakovich, or any Soviet Thursday, March 2 composer, a political dissident is Get your tickets to the Shostakovich problematic for many reasons. When the Concerto Festival on January 19 and 20, state owns everything — from apartments and see more about the programs on Visit our website for details: to concert halls and violins to orchestras pages 30 to 35. www.seattleu.edu/artsci/mfa
ARTL_EncoreAdrev3.indd 1 10/25/16 3:24 PM IF LUCK BE A LADY Her name might be Megan Hilty BY ANDREW STIEFEL
... her advice to young musicians is to “do everything you can — onstage and off — and be nice to everyone!”
in the arts. It wasn’t ever a question of if I would do it, but how I would make it happen.”
She attended Sammamish High School before transferring to the Washington Academy of Performing Arts in Redmond. “My love for musical theater was fostered by the Bellevue Youth Theatre,” says Hilty. “I spent most of my summers there growing up.” After high school, she attended Carnegie Mellon University. She auditioned for Wicked during her senior year and moved to New York after graduation to make her Broadway debut. Hilty says her advice to young musicians is to “do everything you can — onstage and off — and be nice to everyone!”
Since her Broadway debut, Hilty has appeared on Bravo, CBS, NBC and has recorded voice parts for Disney. This May she released a live album of songs from her recent concert tour, entitled Megan Hilty Live at the Café Carlyle. Her next great adventure? “I just bought my first house in Los Angeles and we are expecting our second child in March,” says Hilty. She plans to spend time at home with her husband, actor Brian Gallagher, and their daughter, Viola, before diving back into her music and acting. he Bellevue-born star returns home this January to perform Tat Benaroya Hall. “It’s always an honor to be able to perform Fittingly, her last performance before taking a break will be in in my hometown, but it’s an even greater privilege to get to sing her hometown. This January she performs music made popular with the incredible musicians of the Seattle Symphony,” says Hilty. by Sinatra and others including “The Best is Yet to Come,” “New “I also get to perform with my friend, the great maestro Steven York, New York,” “Autumn Leaves,” “Mack the Knife” and many Reineke, so this will undoubtedly be a weekend I’ll never forget!” more. “I hope audiences take pride in knowing that their city is one that supports the arts in a way that profoundly impacts its Hilty, who rose to fame as Glinda the Good Witch in the Broadway youth,” says Hilty. “That support can inspire careers that lead to hit Wicked, later starred in the musical-drama series Smash on Broadway and beyond.” NBC. These days she splits her time between Los Angeles and New York, acting and singing. So how did she get her start? Stop by the Ticket Concierge in the Grand Lobby (available for most performances) before your concert or during intermission to “My first voice teacher, Merry Kimball, was the one who steered get tickets to Luck Be a Lady: Megan Hilty Sings Sinatra & More me in the classical direction and developed my love and on January 13, 14 and 15. You can also purchase tickets on our appreciation for opera,” says Hilty. “But I honestly don’t remember Listen Boldly app, online, in-person at the Ticket Office or by ever thinking that I would do anything other than pursue a career calling 206.215.4747.
14 SEATTLESYMPHONY.ORG IF LUCK BE A LADY Her name might be Megan Hilty BY ANDREW STIEFEL
When Only The Best Will Do
Dac 080715 emerald fp.indd 1 8/7/15 4:36 PM January 2017 Volume 30, No. 5
LUDOVIC MORLOT, MUSIC DIRECTOR
Paul Heppner Publisher LISTEN BOLDLY Susan Peterson SEASON Design & Production Director Ana Alvira, Robin Kessler, 2016/17 Shaun Swick, Stevie VanBronkhorst Production Artists and Graphic Design FEBRUARY 9, 11 & 12 Mike Hathaway HILARY HAHN Sales Director BRUCH VIOLIN Brieanna Bright, Joey Chapman, Ann Manning, Rob Scott CONCERTO NO. 1 Seattle Area Account Executives Marilyn Kallins, Terri Reed Ludovic Morlot, conductor San Francisco/Bay Area Account Executives Hilary Hahn, violin Jonathan Shipley EMANUEL DEBUSSY: Prélude à l’après-midi d’un faune Ad Services Coordinator AX BRUCH: Violin Concerto No. 1 Carol Yip PROKOFIEV: Symphony No. 5 Sales Coordinator FEBRUARY 2 & 4 Relish the freedom and courage of Sara Keats EMANUEL AX Prokofiev’s wartime Fifth Symphony, which Jonathan Shipley dared to be honest and even humorous Online Editors BEETHOVEN EMPEROR during a perilous time. Bruch’s popular and technically difficult Violin Concerto No. 1 is in Ludovic Morlot, conductor good hands with violinist Hilary Hahn. Emanuel Ax, piano Hilary Hahn’s 2016–2017 residency is generously supported by the Judith Fong Music Director’s Fund. IVES: New England Holidays: Leah Baltus Washington’s Birthday Media Sponsor: Editor-in-Chief Decoration Day The Fourth of July Paul Heppner Thanksgiving and Forefathers’ Day Publisher BEETHOVEN: Piano Concerto No. 5, “Emperor” Dan Paulus From Ives and his celebration of Art Director Washington’s Birthday and the Fourth of Gemma Wilson, Jonathan Zwickel July to Beethoven and the epic “Emperor” Senior Editors Concerto, this is one explosive collision Amanda Manitach of two powerhouse composers. Superstar Visual Arts Editor Emanuel Ax unfurls Beethoven’s Fifth Piano Barry Johnson Concerto in all its glory. HILARY HAHN Associate Digital Editor Media Sponsor:
FEBRUARY 17 & 18 JOSHUA BELL TCHAIKOVSKY Paul Heppner VIOLIN CONCERTO President Mike Hathaway Vice President Ludovic Morlot, conductor Genay Genereux Joshua Bell, violin Accounting & Office Manager SMETANA: Dance of the Comedians from JOSHUA Sara Keats BELL The Bartered Bride Marketing Manager TCHAIKOVSKY: Violin Concerto DVOŘÁK: Symphony No. 8 Ryan Devlin Business Development Manager Beloved violinist Joshua Bell shines on Tchaikovsky’s heroic Violin Concerto. Corporate Office Dvořák’s uplifting Eighth Symphony evokes 425 North 85th Street Seattle, WA 98103 the simple, peaceful atmosphere of his p 206.443.0445 f 206.443.1246 Bohemian homeland. [email protected] Media Sponsor: 800.308.2898 x105 www.encoremediagroup.com FOR TICKETS: Friday performance sponsored by Encore Arts Programs is published monthly by Encore Media Group to serve musical and theatrical events in the Puget 206.215.4747 | SEATTLESYMPHONY.ORG Sound and San Franc isco Bay Areas. All rights reserved. ©2017 Encore Media Group. Reproduction without written permission is prohibited.
16 SEATTLESYMPHONY.ORG Thursday, January 5, 2017, at 7:30pm PROGRAM NOTES Saturday, January 7, 2017, at 8pm Sunday, January 8, 2017, at 2pm A MESSAGE FROM MUSIC DIRECTOR LUDOVIC MORLOT BEETHOVEN Trois petites liturgies de la Présence Divine was written after Messiaen’s release from SYMPHONY NO. 9 prison during World War II. The composer’s Catholic faith was strong, and these liturgies are a celebration of God. Messiaen wrote a part for women’s chorus, which I Ludovic Morlot, conductor | Mary Elizabeth Williams, soprano | have assigned to the boy sopranos of the Rinat Shaham, mezzo-soprano | Kenneth Tarver, tenor | Jonathan Lemalu, bass | wonderful Northwest Boychoir, as I read the Cynthia Millar, ondes Martenot | Michael Brown, piano | Northwest Boychoir | composer wanted to capture pure angelic Seattle Symphony Chorale | Seattle Symphony voices. This work also incorporates an electronic instrument, the ondes Martenot. We’re fortunate to have one of the leading OLIVIER MESSIAEN Trois petites liturgies de la Présence Divine 33’ experts in the ondes Martenot, Cynthia (“Three Small Liturgies of the Divine Presence”) Millar, joining us for these concerts. Antienne de la conversation intérieure (“Anthem of the Inward Conversation”) Almost 200 years after it premiered, Beethoven’s Symphony No. 9 is still an Séquence du Verbe, cantique divin incredibly challenging and monumental (“Sequence of the Word, Divine Canticle”) work, and one which opened a window Psalmodie de l’ubiquité par amour to what the symphony would eventually (“Psalmody of the Ubiquity of Love”) become under Mahler’s writing. In light MICHAEL BROWN, PIANO of our two-year cycle of Beethoven’s CYNTHIA MILLAR, ONDES MARTENOT symphonies and piano concertos, I felt NORTHWEST BOYCHOIR that it was very important to present Beethoven’s Ninth in the context of our subscription series concerts, rather than INTERMISSION as a holiday concert as has been done in recent years. I am very excited to welcome LUDWIG VAN Symphony No. 9 in D minor, Op. 125, “Choral” 65’ our outstanding guest vocalists Mary BEETHOVEN Allegro ma non troppo, un poco maestoso Elizabeth Williams, Rinat Shaham, Kenneth Molto vivace Tarver and Jonathan Lemalu — this is just Adagio molto e cantabile—Andante moderato about as good as it gets! Presto—Allegro assai—Allegro assai vivace See Ludovic Morlot’s biography on page 6. MARY ELIZABETH WILLIAMS, SOPRANO RINAT SHAHAM, MEZZO-SOPRANO KENNETH TARVER, TENOR Spirit Songs JONATHAN LEMALU, BASS The beginning of each new year is SEATTLE SYMPHONY CHORALE traditionally a time of renewal and Pre-concert Talk one hour prior to each performance. rededication, for turning from the Speaker: Dr. Giselle Wyers, Donald E. Petersen Associate Professor of Choral Music pleasant hedonism of the recent holiday at the University of Washington season toward thoughts and activities we often think of as having a higher Ask the Artist on Saturday, January 7, in the Samuel & Althea Stroum Grand Lobby following the purpose. It seems right, then, that the concert. first Seattle Symphony concerts of 2017 Guests: Ludovic Morlot, Mary Elizabeth Williams, Kenneth Tarver, Cynthia Millar present music that explicitly seeks the Moderator: Simon Woods higher ground of spiritual expression.
Support for Messiaen’s Trois petites liturgies de la Présence Divine is generously provided by Music and spirituality have been closely the Judith Fong Music Director’s Fund. Audience Development supported by The Wallace Foundation. linked throughout the ages in the Media Sponsor: Classical KING FM 98.1 minds of poets, theologians, listeners and especially musicians themselves. Please note that the timings provided for this concert are approximate. No less an authority than Ludwig van Please turn off all electronic devices and refrain from taking photos or video. Beethoven implicitly confirmed the Performance ©2017 Seattle Symphony. Copying of any performance by camera, audio or video recording connection when he called music “the equipment, and any other use of such copying devices during a performance is prohibited. mediator between the spiritual and
encoreartsseattle.com 17 PROGRAM NOTES
the sensual life.” The great Indian sitar cosmos, in the most vast and violent WHAT TO LISTEN FOR: Messiaen called the player Ravi Shankar was more direct, manifestations of nature, and in the first movement an “interior conversation” declaring: “The highest form in music is contemplation of myth, numerology and and explained that it is meant to evoke “the spirituality.” ancient civilizations. God that is present in us.” The opening and close of this movement juxtapose serene The use of music in religious rituals in Above all, Messiaen’s work served to melodic lines with birdsongs transmitted most cultures gives further evidence express his very personal brand of primarily by the piano. A contrasting of the link between sound and Roman Catholicism. His religious belief central passage brings a faster pace and spirit. But what of concert music, of was unusual in its literal acceptance of greater rhythmic complexity in both the compositions intended not for temple the miracles and revelations set forth vocal and instrumental parts. A single or church but for the secular setting of in the scriptures. “The truths of the faith violin and, later, ondes Martenot, play lines an auditorium such as Benaroya Hall? are startling,” the composer observed, intimating ecstatic dance, while piano, One can argue that all music is, in some referring to the highly charged imagery percussion and the string ensemble each way, essentially spiritual. Yet certain of the scriptural passages and mystical contribute vigorous figures of their own. orchestral compositions declare their poetry to which he was drawn. And this All these combine with the vocal line to spiritual intent or inspiration more imagery drew from him a lush, colorful and create an exhilarating polyphony of diverse openly. strangely ecstatic body of music, music elements. quite unlike the decorous settings of We hear two such works. Olivier the mass and other liturgical texts by The same notion animates the second Messiaen’s Trois petites liturgies de Stravinsky, Poulenc and other leading movement. But in contrast to the la Présence Divine gives voice to 20th-century composers. dizzying welter of musical detail this its author’s unusual religious faith, movement presents, its formal structure one rooted in Catholicism but which Composed in 1944, after his release from a is a simple rondo design: a brief melodic embraced with particular intensity what German prison camp, Trois petites liturgies idea alternating with episodes of more the composer termed “the stupendous, de la Présence Divine was Messiaen’s first variegated music. The end conveys the miraculous, the transcendent.” important work using voices and orchestra. religious rapture through sheer sonority, Beethoven’s magisterial Ninth It is characteristic of the composer’s very bright and overwhelming. Symphony moves beyond religion and poetic religious outlook that this is not at all gives us a hymn to the ideal of human a liturgical work, its title notwithstanding. (In The final “liturgy,” like the first, unfolds in brotherhood. In all of music, there is fact, Messiaen never composed a setting a broad A–B–A pattern, but with tempos no purer expression of the spirit of of the mass or any canonical ecclesiastic and characters reversed: here the outer humanism. verses.) Rather, it uses as its text three panels are fast and rhythmic, while the religious poems written by Messiaen central episode brings slow, sustained OLIVIER MESSIAEN himself. The words are set forth by a choir music and celestial sonorities. The reprise of boy’s voices, which the composer uses of the initial section culminates in another Trois petites liturgies de la Présence unconventionally. Accompanying them of Messiaen’s shattering climaxes, but the Divine (“Three Small Liturgies of the is an unusual ensemble of percussion, composer appends a coda passage that Divine Presence”) piano (in a featured role), string orchestra brings the work to a tranquil close. and ondes Martenot, an early electronic instrument that produces a strong but Scored for solo piano, ondes Martenot, BORN: December 10, 1908, in Avignon ethereal sound, like the singing of some boychoir, percussion, celeste and strings. DIED: April 27, 1992, in Clichy, near Paris extra-terrestrial voice. WORK COMPOSED: 1944 LUDWIG VAN BEETHOVEN WORLD PREMIERE: April 21, 1945, in Paris. The composition offers up an array of Roger Desormière conducted the orchestra of striking and extremely unusual sonorities. Symphony No. 9 in D minor, Op. 125, the Concert de la Pléiade. The piano joins with celesta and “Choral” vibraphone in an ensemble Messiaen More than any other major composer of compared to a Balinese gamelan. The BORN: December 16, 1770, in Bonn the 20th century, Olivier Messiaen stood vocal writing ranges from chant to DIED: March 26, 1827, in Vienna outside the main currents that shaped languorous song to rhythmic shouting. music during his time. Embracing none of Strings and ondes Martenot join in lushly WORK COMPOSED: 1822–24 the modernist styles or movements when scored passages. The composer’s WORLD PREMIERE: May 7, 1824, in Vienna. they were in vogue, Messiaen followed idiosyncratic instrumental and vocal The composer, who was by this time almost his own sensibilities throughout his career, sonorities complement his very personal completely deaf, was nominally the conductor, creating a startlingly original body of music handling of rhythm and his use of both although he contributed little more than to forged from birdsong, synthetic scales of familiar harmonies and new chords and indicate tempo at the start of each movement; his own invention, rhythms derived from an scales. The music tends to extremes the performers then followed Michael Umlauf, ancient Hindu treatise, numerical symbols, of either cataclysmic activity or tender music director of the Austrian imperial theater. and a strongly felt affinity between sound quietude. and color. He found inspiration in the
18 SEATTLESYMPHONY.ORG Between 1800 and 1812, Beethoven boldly formulating new concepts of musical is still the most compelling drama in the transformed the symphony as no other design and harmonic language, he takes symphonic literature. composer had or has done. His first two pains to incorporate such anachronisms as works of this kind, written in 1800 and fugal textures in his compositions. The second movement presents a robust 1802, summarized the Classical-period scherzo, one in which Beethoven offers symphony, which had been his inheritance Nowhere are the contradictions that a remarkable display of compositional from Mozart and Haydn, the great informed Beethoven’s late music more skill. Successive statements of its principal symphonists of the late 18th century. With evident than in his Ninth Symphony, motif, punctuated by startling exclamations his Third Symphony, the epochal Sinfonia completed in 1824. And nowhere, in either from the timpani, are woven into intricate eroica of 1804, Beethoven expanded both his own earlier symphonies or those of contrapuntal passages suggesting a great the musical and emotional scope of the other composers, are there precedents for cosmic dance. genre, imparting to it the heroic spirit which the grandeur and almost terrifying fervor of would become a hallmark of 19th-century this work, or for the remarkable conception In contrast to the vigor of this second Romanticism. of the symphony’s choral finale. movement, the third gives us music of heavenly sweetness, a sense of deep The works that followed proved But while the Ninth Symphony seems in and serene spirituality. The tranquility of Beethoven’s symphonic style capable of many ways sui generis, it also represents this Adagio might lead us to believe that expression that ranged from desperate an extension and culmination of various the turmoil of the opening movement has struggle to the purifying beauty he artistic concerns that had preoccupied been resolved. But as the finale begins, found in nature. Equally important, they Beethoven throughout his career. The we find that a sense of agitation, conveyed revealed that imposing command of form triumph of the spirit, the psychological by a harsh fanfare, still lingers over the and development which places these progression from pathos to joy that had symphony. compositions among the great intellectual been the theme of the Third and Fifth achievements of Western culture. symphonies, the opera Fidelio, and the The disturbing fanfare is answered at Egmont Overture, found its greatest once by a more tempered statement from Then, beginning in 1813, no symphony expression in Beethoven’s final symphonic the deep orchestral voices of the cellos came from Beethoven’s pen for more essay. In each of the aforementioned and basses. A second outburst is similarly than a decade. Much of this period saw works, the victory of love, heroism or both answered. Beethoven now recounts a marked decrease in the composer’s is celebrated in strong, simple melodies the progress of the symphony thus far, output and his progressive withdrawal and harmonies, and Beethoven extends presenting fragments of music from the from most social contact. He was, during that rhetorical device magnificently in the three preceding movements in turn. Like this time, embroiled in emotional and Ninth Symphony’s closing movement. the fanfares, each of these recollections legal turmoil engendered by the custody is interrupted by the low strings. Their of his troubled nephew. Moreover, he Even the use of Friedrich Schiller’s ode declamatory statements seem more like was now almost completely deaf and An die Freude, the “Ode to Joy,” as the speech than music, as if the notes are struggling to accept the impossibility of basis of the finale stems from Beethoven’s groping for words. intimate companionship, something he had youth. As a young man he had sketched long hoped for but which finally seemed a setting of these verses, and the idea At last, a bit of melody emerges, growing unattainable in view of his failed hearing of completing it never left him. Thus, the more confident as it is taken up by and single-minded devotion to music. Ninth Symphony was as much fulfillment additional instruments. This is the famous as breakthrough, a work that crowned principal theme of the movement, and These difficult personal circumstances Beethoven’s efforts to articulate in music with its bright announcement by the full might alone have explained the relative the 19th century’s great humanist vision, orchestra, the symphony seems assured silence of the recently so prolific composer. even while it opened new vistas in the field of a joyous conclusion. But victory is not But the work of Beethoven’s final years of symphonic composition. so easily won. Again the dissonant fanfare suggests that he was passing through a sounds, casting the work once more into creative crisis as well; for when the flow of WHAT TO LISTEN FOR: If the finale is the shadow. compositions at last resumed, the music triumphant goal of the Ninth Symphony, was distinct from anything their author had the significance of this movement, its And then, something quite extraordinary done before. cathartic power and seeming necessity, occurs. The declamatory music presented stem from the sense of conflict presented earlier by the cellos and basses again rises In his late compositions, Beethoven seems at the outset of the composition. The initial up in protest, but now it has a new voice, to be reaching in opposite directions at movement seems a work of elemental a human one, and has found the words for once. His tone is more intimate, more force, and it grows out of the most which it has been searching: “O friends, not personal, yet the scale on which his ideas elemental musical materials. Its initial these sounds, but let us raise our voices take form has once again expanded. moments suggest a shapeless, formless in joyful song!” The lines are Beethoven’s, There is a greater feeling of maturity and primordial void: static harmonies from and as if in obedience to his call, the a sense of profound spirituality in his which fragments of melody tentatively symphony bursts into song. The remainder musical utterances, but his melodies often emerge, the music slowly gathering have the simplicity of folk tunes. And while momentum until it erupts to launch what continued on page 24
encoreartsseattle.com 19 TEXT & TRANSLATION
OLIVIER MESSIAEN Trois petites liturgies de la Présence Divine (“Three Small Liturgies of the Divine Presence”)
Antienne de la conversation intérieure Anthem of the Inward Conversation Mon Jésus, mon silence, restez en moi. My Jesus, my silence, remain in me. Mon Jésus, mon royaume de silence, parlez en moi. My Jesus, my kingdom of silence, speak in me Mon Jésus, nuit d’arc-en-ciel et de silence, My Jesus, night of rainbow and silence, priez en moi. pray in me. Soleil de sang, d’oiseaux, Sun of blood, of birds, mon arc-en-ciel d’amour, désert d’amour. my rainbow of love, wilderness of love. Chantez, lancez l’auréole d’amour, Sing, cast love’s halo, mon Amour, mon Dieu. my Love, my God.
Ce oui qui chante comme un écho de lumière, This “yes” that sings like an echo of light, mélodie rouge et mauve en louange du Père, a red and mauve melody in praise of the Father, d’un baiser votre main dépasse le tableau, by a kiss’s breadth your hand overreaches the painting, paysage divin, renverse-toi dans l’eau. Heavenly landscape, spill your refelction into the water. Louange de la Gloire à mes ailes de terre, Praise of Glory to my wings of earth, mon Dimanche, ma Paix, mon Toujours de lumière. my Sunday, my Peace, my Everlasting light. Que le ciel parle en moi, rire, ange nouveau, May heaven speak within me, smile, new angel, ne me réveillez pas: c’est le temps de l’oiseau! do not wake me: it’s the time of the bird!
[Mon Jésus, mon silence, restez en moi...] [My Jesus, my silence, remain in me...]
Séquence du Verbe, cantique divin Sequence of the Word, Divine Canticle Il est parti le Bien-Aimé, c’est pour nous! The Beloved has gone, it is for us! Il est monté le Bien-Aimé, c’est pour nous! The Beloved has ascended, it is for us! Il a prié le Bien-Aimé, c’est pour nous! The Beloved has prayed, it is for us! Il a parlé, Il a chanté, le Verbe était en Dieu! He has spoken, he has sung, the Word was in God! Il a parlé, Il a chanté, et le Verbe était en Dieu! He has spoken, he has sung, and the Word was God! Louange du Père, substance du Père, Praise of the Father, substance of the Father, empreinte et rejaillissement toujours, imprint and emanate always, dans l’Amour, Verbe d’Amour! in Love, Word of Love!
Par lui le Père dit: c’est moi, Through the Word the Father said: it is I, parole de mon sein! Word of my breast! Par lui le Père dit: c’est moi, Through Him, the Father said: it is I, le Verbe est dans mon sein! the Word is in my breast! Le Verbe est la louange, The Word is praise, modèle en bleu pour anges, a blueprint for angels, trompette bleue qui prolonge le jour, a blue trumpet that prolongs the day, par Amour, chant de l’Amour! through Love, song of Love!
Il était riche et bienheureux, Il a donné Son ciel! He was rich and happy, He gave His heaven! Il était riche et bienheureux, pour compléter Son ciel! He was rich and happy, to complete His heaven! Le Fils c’est la présence, l’Esprit, c’est la présence! The Son is the presence, the Spirit is the presence! Les adoptés dans la grâce toujours, Those who have received grace always, pour l’Amour, enfants d’Amour! for Love, children of Love!
Il est vivant, Il est présent, He lives, He is present, et Lui se dit en Lui! and He has spoken in Him! Il est vivant, Il est présent, He lives, He is present, et Lui se voit en Lui! and He can be seen in Him! Présent au sang d l’âme, étoile aspirant l’âme, Present in the blood of the soul, soul-breathing star, présent partout, miroir ailé des jours, everywhere present, winged mirror of days, par Amour, le Dieu d’Amour! through Love, the God of Love!
[Il est parti le Bien-Aimé, c’est pour nous!...] [The Beloved has gone, it is for us!...]
Psalmodie de l’ubiquité par amour Psalmody of the Ubiquity of Love Tout en entier en tous lieux, tour entier en chaque lieu, Whole in all places, whole in each place, donnant, l’être à chaque lieu, bestowing being upon each place, a tout ce qui occupe un lieu, on all that occupies a place, le successif vous est simultané, the successive you is omnipresent, dans ces espaces et ces temps que vous avez créés, in these spaces and times that you created, satellites de votre Douceur. these satellites of your Gentleness.
20 SEATTLESYMPHONY.ORG Posez-vous comme un sceau sur mon coeur. Place yourself like a seal on my heart. Temps de l’homme et de la planète, Time of man and of the planet, temps de la montagne et de l’insecte, time of the mountain and of the insect, bouquet de rire pour le merle et l’alouette, garland of laughter for the blackbird and lark, éventail de lune au fuchsia, wedge of moon to the fuchsia, a la balsamine, au bégonia; to the balsam and begonia; de la profondeur une ride surgit from the depths a ripple rises, la montagne sauté comme une brebis the mountain leaps like an ewe et devient un gran océan. and becomes a great ocean. Présent, vous êtes présent. Present, you are present. Imprimez votre nom dans mon sang. Imprint your name in my blood.
Dans le mouvement d’Arcturus, présent, Present in the movement of Arcturus, dans l’arc-en-ciel d’une aile après l’autre in the rainbow, with one wing after another (Écharpe aveugle autour de Saturne), (Blind ring around Saturn), dans la race cachée de mes cellules, present in the hidden race of my cells, présent, dans le sang qui répare ses rives, in the blood that repairs its banks, present, dans vos Saints par la grâce, present, through Grace, in your Saints. (Interprétations de votre Verbe, (Interpretations of your Word, pierres précieuses au mur de la Fraîcheur). precious stones in the wall of Freshness). Posez-vous comme un sceau sur mon coeur. Place yourself like a seal on my heart.
Un coeur pur est votre repos, A pure heart is your repose, lis en arc-en-ciel du troupeau, rainbow-colored lily of the flock, vous vous cachez sous votre Hostie, you hide beneath your Host, frère silencieux dans la Fleur-Eucharistie, silent brother in the Eucharist-flowers, pour que je demeure en vous comme une aile so I may dwell within you like a wing in the sun, dans le soleil,vers la résurrection du dernier jour. awaiting the resurrection of the final day. Il est plus fort que la mort, votre Amour. Your Love is stronger than death. Mettez votre caresse tout autour. Enfold us all within your embrace.
Violet-jaune, vision, Violet-yellow, vision, Voile-blanc, subtilité, white-out, subtlety, orangé-bleu, force et joie, orange-blue, strength and joy, flèche-azur, agilité, azure spire, agility, donnez-moi le rouge et le vert de votre amour, give me the red and green of your love, feuille-flamme-or, claret. gold-burning leaf, clarity. Plus de langage, plus de mots, No more language, no more words, plus de prophètes ni de science no more prophets nor science, (c’est l’Amen de l’espèrance, (It is the Amen of hope, Silence mélodieux de l’Éternité). the melodious silence of Eternity).
Mais la robe lavée dans le sang de l’Agneau, What of the robe washed in the Blood of the Lamb, mais la pierre de neige avec un nom nouveau, what of the stone of snow with a new name, les éventails, la cloche et l’ordre des clartés, the fans, the bells and the order of light, et l’échelle en arcs-en-ciel de la Vérité, and the rainbow-ladder of Truth, mais la porte qui parle et le soleil qui s’ouvre, what of the gate that speaks and the sun that opens, l’auréole tête de rechange qui délivre, the halo and change of head that redeems us, et l’encre d’or ineffaçable sur le livre; and the golden ink, indelible on the book; mais le face-à-face et l’Amour. but to see you face-to-face and Love.
Vous qui parlez en nous, vous qui vous taisez en nous, You speak in us, you who keep silent in us, et gardez le silence dans votre Amour. and maintain your silence in your Love. Vous êtes près, vous êtes loin, You are close, you are distant, vous êtes la lumière et les ténèbres, vous êtes si compliqué si simple, you are the light and the darkness, you are so complex and so simple, vous êtes infiniment simple. you are infinitely simple.
L’arc-en-ciel de l’Amour, c’est vous, You are rainbow of Love, l’unique oiseau de l’Éternité, c’est vous! You are the unique bird of Eternity! Elles s’alignment lentement, Slowly they fall into line, les cloches de la profondeur. the bells of profundity. Posez-vous comme un sceau sur mon coeur. Place yourself like a seal on my heart.
[Tout entier en tous lieux, tout entier en chaque lieu...] [Whole in all places, whole in each place...]
Vous qui parlez en nous, vous qui vous taisez en nous, You who speak in us, you who say nothing in us, et gardez le silence dans votre Amour, and maintain your silence in your Love, enfoncez votre image dans la dureé de mes jours. implant your image throughout the length of my days.
encoreartsseattle.com 21 MARY ELIZABETH TEXT & TRANSLATION WILLIAMS Soprano
Ludwig van Beethoven / Text by Friedrich Schiller “She has a soft bronze voice with a limpid Symphony No. 9 in D minor, Op. 125, “Choral” quality, whether she is singing at her loudest or floating out a gentle little O Freunde, nicht diese Töne! O friends, no more of these sad tones! phrase that tamed the Sondern lasst uns angenehmere Let us rather raise our voices together bombast of the big Act II In more pleasant and joyful tones! anstimmen, und freudenvollere! ensemble. She is also a wonderful presence on Freude, schöner Götterfunken, Joy, thou shining spark of God, stage, at once regal and human.” Tochter aus Elysium Daughter of Elysium! – The Washington Post Wir betreten feuertrunken, With fiery rapture, goddess, Himmlische, dein Heiligtum! We approach thy shrine. Mary Elizabeth Williams is a native of Deine Zauber binden wieder, Your magic reunites those Philadelphia, Pennsylvania and lives Was die Mode streng geteilt; Whom stern custom has parted, currently in Milan, Italy. She is very happy Alle Menschen werden Brüder, All men will become brothers for every opportunity to perform in Seattle Wo dein sanfter Flügel weilt. Under your protective wing. because it has been an important city for her artistic development for over 15 years. Wem der grosse Wurf gelungen, Let the man who has had the fortune Williams was a young artist with Seattle Eines Freundes Freund zu sein, To be a helper to his friend, Opera in 2000, and has subsequently Wer ein holdes Weib errungen, And the man who has won a noble woman, sung with Seattle Opera as a main stage Mische seinen Jubel ein! Join in our chorus of jubilation! guest artist in five different productions Ja, wer auch nur eine Seele Yes, even if he holds but one soul since 2010. The bulk of her repertoire is Sein nennt auf dem Erdenrund! As his own in all the world! Italian romantic or verismo opera, and she Und wers nie gekonnt, der stehle And let the man who knows nothing of this is especially lauded for her portrayals of Weinend sich aus diesem Bund! Steal away alone in sorrow! dramatic coloratura heroines, like Norma (Norma), Abigaille (Nabucco), Lady Macbeth Freude trinken alle Wesen All the world’s creatures draw (Macbeth) and Odabella (Attila). An den Brüsten der Natur; Draughts of joy from Nature’s breast; Alle Guten, alle Bösen Both the just and the unjust Folgen ihrer Rosenspur. Follow in her gentle footsteps. RINAT SHAHAM Küsse gab sie uns und Reben, She gave us kisses and wine Mezzo-soprano Einen Freund, geprüft im Tod; And a friend loyal unto death; Wollust ward dem Wurm gegeben, She gave the joy of life to the lowliest, Israeli-born mezzo- Und der Cherub steht vor Gott! And to the angels who dwelt with God! soprano Rinat Shaham has received accolades Froh, wie seine Sonnen fliegen Joyous, as His suns speed for her operatic and Durch des Himmels prächt’gen Plan, Through the glorious order of Heaven, concert performances at Laufet, Brüder, eure Bahn, Hasten, brothers, on your way the most prestigious Freudig wie ein Held zum Siegen. Of joyous deeds to victory. theaters throughout the world. Internationally Photo: Andrew Bogard Andrew Photo: Seid umschlungen, Millionen! Be embraced, all ye millions! recognized as one of Diesen Kuss der ganzen Welt! With a kiss for all the world! today’s finest interpreters of Bizet’s Carmen, she gave her first performance at the 2004 Brüder! Überm Sternenzelt Brothers, beyond the stars Glyndebourne Festival and has since Muss ein lieber Vater wohnen. Surely dwells a loving Father. portrayed the role internationally. Born in Ihr stürzt nieder, Millionen? Do you kneel before Him, O millions? Haifa, Shaham completed her musical Ahnest du den Schöpfer, Welt? Do you feel the Creator’s presence? studies in the United States at the Curtis Such’ ihn überm Sternenzelt! Seek Him beyond the stars! Institute of Music. While still in school, Über Sternen muss er wohnen. He must dwell beyond the stars. Shaham was invited to make her professional operatic debut as Zerlina with the Opera Company of Philadelphia, the same role she performed for her debut in New York City and Pittsburgh. Shaham has recorded excerpts from operas by Lully under William Christie for Erato as well as a solo CD of Gershwin and Purcell with The Viol Group Fuoco e Cenere on ATMA.
22 SEATTLESYMPHONY.ORG KENNETH TARVER CYNTHIA MILLAR MICHAEL BROWN Tenor Ondes Martenot Piano
A graduate of Yale Cynthia Millar was born in Winner of a 2015 Avery University, Oberlin London and studied the Fisher Career Grant, College and the Met ondes Martenot first with Michael Brown has been Young Artist program, John Morton and later described by The New Grammy Award-winning with Jeanne Loriod. Since York Times as “one of the tenor Kenneth Tarver she first played the leading figures in the specializes in Mozart, Turangalila-Symphonie current renaissance of Berlioz and virtuosic Bel at the BBC Promenade performer-composers.” Photo: Joan Tomàs-Fidelio Photo: Joan Tomàs-Fidelio Canto repertoire. During Nilsson Steven Photo: Concerts in London with Neda Navaee Photo: Selected by Sir András his extensive operatic career he has Sir Mark Elder and the National Youth Schiff for his “Building Bridges” series in performed in such prestigious venues as the Orchestra of Great Britain, her performances 2016–17, Brown will make debut solo recitals Festival of Aix-en-Provence, the Edinburgh with many of the world’s leading orchestras in Berlin, Florence, Milan, Frankfurt, Antwerp, Festival, Staatsoper Berlin and Covent and conductors run to triple figures. She has Zurich, and New York’s 92nd Street Y Garden. He has appeared with leading recorded Turangalila with the Bergen performing the music of Mendelssohn, orchestras such as London Symphony Symphony Orchestra conducted by Juanjo Beethoven, Bernstein and his own Orchestra, the New York Philharmonic, the Mena for Hyperion. Other repertoire composition. Brown joined the roster of The Concertgebouw Amsterdam and the Berlin includes Honegger’s Jeanne d’Arc au Chamber Music Society of Lincoln Center’s Phiharmonic with leading conductors Bûcher, Varèse’s Equatorial and Messiaen’s CMS Two program in 2015 and performs including Sir Colin Davis, Riccardo Chailly Trois petites liturgies which she has with the Society in Alice Tully Hall and on and Pierre Boulez, recording extensively for recorded for Virgin Classics and for Globe. tour. Recent commissions of his own works Opera Rara (La Donna del Lago), Harmonia In summer 2016 she performed the include a Piano Concerto for the Maryland Mundi (Idomeneo) LSO Live (Les Troyens, important solo ondes Martenot part written Symphony and various chamber pieces. A Beatrice et Benedict, Roméo et Juliette) and especially for her by Thomas Adès in his native New Yorker, Brown earned dual most recently Cosi fan tutte and Don opera The Exterminating Angel at the bachelor’s and master’s degrees in Piano Giovanni with Teodor Currentzis for Sony, Salzburg Festival, soon to be heard at the and Composition from The Juilliard School, which The Times (UK) praised for “Kenneth Royal Opera House in London and The where he studied with pianists Jerome Tarver’s mellifluous Don Ottavio — giving an Metropolitan Opera in New York. Alex Ross Lowenthal and Robert McDonald and object lesson in style and technique.” writing in The New Yorker said “Cynthia composers Samuel Adler and Robert Beaser. Millar’s playing of the ondes was so acutely expressive that she might have taken a bow FROM THE ARTIST: JONATHAN LEMALU with the singers.” “As a teenager, I fell in love with Messiaen’s Quartet for the End of Time. I Bass FROM THE ARTIST: was so taken by his unique compositional “The first time I heard Messiaen’s Trois voice and his unbelievably imaginative Jonathan Lemalu, a New petites liturgies was in a recording from color palette. I’ve now performed Zealand-born Samoan, Paris in my early teens. I was bewitched the Quartet on a few different occasions graduated from a by its textures. I still vividly remember the and each time has been a powerful and Post-graduate Diploma impression it made on me, listening on transformative experience for me. These Course in Advanced a radio with an ear bud, tucked away in performances in Seattle will be my first Performance on the the school library breaking the rules! The time performing another masterpiece by London Royal Schools work contains one of the most beautiful Messiaen, his Trois petites liturgies de la Opera Course at the Photo: Sussie Ahlburg Photo: of all ondes Martenot solos, which shows Présence Divine. Ludovic Morlot and I met Royal College of Music very well one of the two distinct methods through the widow of the late American and was awarded the prestigious Tagore of playing the ondes. The piece belongs composer George Perle and share a love Gold Medal. He is a joint winner of the 2002 to the sound world of Turangalila (which I for his music. This will be my second time Kathleen Ferrier Award and the recipient of performed here in Seattle a few years ago) collaborating with Maestro Morlot, the first the 2002 Royal Philharmonic Society’s and to that of the magnificent Quartet for being a performance of Perle’s Serenade Award for Young Artist of the Year. He has the End of Time (which was also performed No. 3 and Critical Moments (No. 1) in May performed at the Munich, Edinburgh, Ravinia on that occasion). And to the choral Cinq 2015. I’m delighted to be back in Seattle and Tanglewood Festivals and at the BBC rechants. It is such a pleasure to be back and excited to perform Messiaen with Proms. He released a debut recital disc on with Ludovic (with whom I have performed Maestro Morlot. I’ll also spend a few minutes EMI with Roger Vignoles to great critical this piece in Chicago, Brussels and Aix-en- watching the fish throwing at Pike Place acclaim and which won a Gramophone Provence) and this wonderful orchestra. I Market and searching for the best pour-over Debut Disc of the Year Award. Other have been so looking forward to returning.” coffee.” recordings include an operatic arias disc with the New Zealand Symphony Orchestra and a disc of English and American songs with Malcolm Martineau.
encoreartsseattle.com 23 NORTHWEST BOYCHOIR
PROGRAM NOTES Perhaps best known in continued the Puget Sound region for its annual A Festival of Lessons and Carols, the Northwest Boychoir’s musical of the movement is an elaborate setting sophistication, rich tonal quality of Schiller’s ode. During the course of this and dedication to exacting presentation, the composer employs, in perfection have established its varying configurations, the full range of reputation as one of the nation’s instrumental and vocal resources at his premier boychoirs. Along disposal, and the “Ode to Joy” theme, with Vocalpoint! Seattle, the which seemed so modest at its first Northwest Boychoir has trained appearance, becomes a soaring anthem thousands of young singers for
for joy, for brotherhood, for all Beethoven Photo: VanHouten Ben more than 40 years, and more hoped mankind might be. significantly, shaped the lives of our region’s youth by teaching important lessons in personal commitment and the value Scored for solo voices and chorus; 2 of teamwork. Led by Joseph Crnko, now in his 33rd year as music director, the Choir’s staff flutes and piccolo; 2 oboes; 2 clarinets; of professional musicians and educators is engaged in the teaching of a rigorous curriculum 2 bassoons and contrabassoon; 4 that trains young singers, 6 to 18 years old, to be fully skilled musicians who sing at the horns; 2 trumpets; 3 trombones; timpani, highest professional level, read music fluently and perform in professional settings with percussion and strings. confidence.
© 2017 Paul Schiavo For more than 30 years, the Choirs have maintained a close working relationship with the Seattle Symphony and participate annually in the performance of great choral works. Performances last season included being the featured artist in the March Baroque concert series, Stravinsky’s Symphony of Psalms and The Fellowship of the Ring. In January the Northwest Boychoir will perform the Messiaen’s Trois petites liturgies de la Présence Divine with the Seattle Symphony and will return to Benaroya Hall to perform Ravel’s L’enfant et les sortilèges in June. Together with the Ladies of Vocalpoint! Seattle, the Northwest Boychoir shared a 2009 Grammy nomination with the Seattle Symphony for a recording of Samuel Jones’ The Shoe Bird. In addition to serving as the official “Singing Ambassadors” of Washington State, the Northwest Boychoir has toured both nationally and internationally.
Northwest Boychoir Joseph Crnko, Conductor & Music Director
Tigran Avakyan Joe Miller Andrew Barnes William Murray Henry Barnes Rayjin Olson Henry Bauck Anders Pohlmann Dominic Bennett Eli Porter Max Boyd Will Rayment Benjamin Butler Leo Rosales Mason Collins Nathaniel Rose Henry Dejanikus Sebastian Santa Lucia Max Dorn Jordan Scherr Jake Flaa Gabriel Sharp Dominic Giuzio Layth Stauffer Rohan Kapur Aidan Su Kenan Lauder Forrest Wu Justin Lee Sammy Yang Hanri Luo Andrew Young David Magidson Alexander Zuniga Keiyu Mamiya
24 SEATTLESYMPHONY.ORG
EAP 1_6 V template.indd 1 12/7/16 10:06 AM SEATTLE SYMPHONY CHORALE JOSEPH CRNKO The Seattle Symphony Chorale Seattle Symphony Associate serves as the official chorus of the Conductor for Choral Activities Seattle Symphony. Over the past four decades, the Chorale has grown in SEATTLE SYMPHONY: artistry and stature, establishing itself Joseph Crnko was as a highly respected ensemble. Critics appointed Associate have described the Chorale’s work Conductor for Choral as “beautiful, prayerful, expressive,” Activities for Seattle “superb” and “robust,” and have Symphony in praised it for its “impressive clarity September 2007. and precision.” The Chorale’s 120 Crnko brings a wealth Photo: Photo: VanHouten Ben volunteer members, who are teachers, of choral conducting, doctors, attorneys, musicians, students, bankers and professionals from all fields, bring arranging, recording and education not only musical excellence, but a sheer love of music and performance to their endeavor. experience to his position. He has Directed by Joseph Crnko, Associate Conductor for Choral Activities, the Chorale prepared the Seattle Symphony Chorale performs with the Seattle Symphony both onstage and in recorded performances. for numerous critically acclaimed performances, including Bach’s Soprano Terri Chan Andrew Magee St. Matthew Passion, Britten’s War Caitlin Anderson-Patterson Rachel Cherem Lucky James Middaugh Requiem, Handel’s Messiah and Verdi’s Laura Ash Christi Leigh Corey Ed Morris Requiem. Amanda Bender Lauren Cree Sean Morse Lolly Brasseur Paula Corbett Cullinane Alexander Oki NORTHWEST CHOIRS: Crnko is currently Ellen Cambron Aurora de la Cruz James Pham in his 33rd year as Music Director of the Emma Crew Lisa De Luca Vijay Ramani Northwest Choirs. During his tenure, he Erin M. Ellis Robin Denis Jonathan M. Rosoff has established the Northwest Choirs’ Jacquelyn Ernst Kaley Lane Eaton Bert Rutgers reputation as one of the nation’s premier Zanne Gerrard Cindy Funaro Peter Schinske children’s choirs. Crnko tours worldwide Emily Han Carla J. Gifford Spencer Small with the elite Northwest Boychoir, most Teryl Hawk Amy Gleixner Max Willis recently with concert tours throughout our Anne Hudson Kelly Goodin Caitlin Hutten Catherine Haddon Bass nation and Europe. Under his directorship, Sharon Jarnigan Shreya Joseph John Allwright the Northwest Boychoir has produced Elizabeth Johnson Inger Kirkman* Jay Bishop four top-selling Christmas recordings. Katy Kaltenbrun Sara Larson Hal Bomgardner In addition, the Northwest Boychoir is Seung Hee Kim Rachel Lieder Simeon Carl Crafts featured on Naxos’ release of Hans Kråsa’s Lori Knoebel Monica Namkung Andrew Cross children’s opera Brundibár, named by Kori Loomis Erica J Peterson Darrel Ede the Metropolitan Opera Guild as one Janelle Maroney Karis Pratt Morgan Elliott of the top classical CDs of 2007. The Megan McCormick Alexia Regner Evan Figueras Northwest Boychoir is also featured on Alyssa K. Mendlein Valerie Rice Curtis Fonger Seattle Symphony’s release of Samuel Geraldine Morris Emily Ridgway Steven Franz Kristen Nelson Dale Schlotzhauer David Gary Jones’ The Shoe Bird, which received a Helen Odom Darcy Schmidt Raphael Hadac Grammy nomination in 2009. Recently Nicolle Omiste Carreen A. Smith Kelvin Helmeid the Northwest Boychoir presented the Margaret Paul Kathryn Tewson Rob Jones world-premiere of VEDEM, a new work Sasha S. Philip Paula Thomas Ronald Knoebel by composer Lori Laitman. The Boychoir’s Kirsten Ruddy JoAnn Wuitschick Tim Krivanek recording of this work was released on the Ana Ryker Mindy Yardy KC Lee Naxos label. Emily Sana Thomas C. Loomis Barbara Scheel* Tenor Bryan Lung CHORAL ARRANGEMENTS & CONDUCTING: Laura A. Shepherd Matthew Blinstrub Ken Rice Over the years, Crnko has written choral Joy Chan Tappen Joe Cook Martin Rothwell* arrangements for boy choirs, a number of Catherine Thornsley Spencer Davis Edward Sam which are now being performed by choirs Toby Trachy Anton R. du Preez Christopher Smith nationally. His Christmas arrangements Andrea Wells David P. Hoffman Jim Snyder Jim Howeth Andrew Sybesma are featured in the major motion picture Alto Neil Johnson Joseph To Millions. In addition to his work with Cynthia Beckett Kevin Kralman* Michael Uyyek the Northwest Choirs, Crnko regularly Ivy Rose Bostock Patrick Le Quere Jared White conducts orchestral and choral recording Nancy Brownstein Ian Loney Lavert Woodard sessions for movie and video game Carol Burleson James H. Lovell soundtracks, including those for the video Grace Carlson Andrew Worthen Lyon * principal of section games Halo, Medal of Honor and World of Warcraft. Some of his recent film projects include Boondock Saints, The Celestine Prophecy, The Last Stand and Let Me In.
encoreartsseattle.com 25 BRENT HAVENS Conductor
Berklee-trained Tuesday, January 10, 2017, at 7:30pm arranger/conductor Brent Havens has written music for WINDBORNE’S orchestras, feature films and virtually every kind THE MUSIC OF of television. His TV work includes movies for networks such as DAVID BOWIE: ABC, CBS and ABC Family Channel Network, commercials, sports music for A ROCK SYMPHONY networks such as ESPN and even cartoons. Havens has also worked with the WITH THE SEATTLE Doobie Brothers and the Milwaukee Symphony, arranging and conducting the SYMPHONY combined group for Harley Davidson’s 100th Anniversary Birthday Party Finale. Havens recently completed the score for Brent Havens, conductor the film Quo Vadis, a Premier Pictures Tony Vincent, vocals remake of the 1956 gladiator film. In 2013 he worked with the Baltimore Symphony Dan Clemens, bass guitar and the NFL’s Baltimore Ravens to arrange Powell Randolph, drums and produce the music for the George Cintron, guitar Thanksgiving Day halftime show between the Ravens and Pittsburgh Steelers, Justin Avery, keyboard adapting both classical music and rock Seattle Symphony songs. Havens is Arranger/Guest Conductor for 14 symphonic rock programs. Havens also premiered a full orchestral show for Lou Gramm, The Voice of Foreigner with Lou singing out front.
Tonight’s program will be announced from the stage. FROM THE ARTIST: “The first time I sat down to listen to David Bowie’s music as a composer and arranger (rather than as a music consumer) was in June of 2015. We had been thinking about artists to present and I had received David’s Greatest Hits CD and began listening through his material. I noticed that Music Sponsor: KEXP he had such a wide range of genres as a songwriter and singer that it was difficult to pin him down into a specific genre as an artist. With the different stages of his musical career it was as if a completely different artist was writing the songs. From his Ziggy Stardust days to his more L.A. sounding material, his New York influenced work and even his collaborations with different artists made David an artist who was a chameleon. I quickly realized that his material would fit quite well with orchestral accompaniment and our audiences get to hear the end result.”
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26 SEATTLESYMPHONY.ORG TONY VINCENT Vocals FRoM tHE tonY AwARd-winning
Tony Vincent grew up wRitER And lYRiCist oF FUn HoME in Albuquerque, New Mexico, and in his early teens began writing songs heavily influenced by Depeche Mode, New Order and Tears for Fears. While attending university (Nashville), Vincent started a record company and recorded an EP, which led to a recording contract with EMI records. The two solo albums (Tony Vincent, One Deed) followed producing six No. 1 Billboard radio singles. Shortly after moving to New York in 1997 to continue his recording career, Vincent took an unexpected detour into the world of rock-based theater, initially as part of the first national tour of Rent, then making his Broadway debut in the 1999 production. He was Simon Zealotes in the 2000 film Jesus Christ Superstar, and Judas Iscariot in the by Lisa Kron Broadway revival that followed. Vincent directed by braden abraham originated the role of Galileo Figaro in the West End production of We Will Rock You. FEBRUARY 10 - MARCH 5 season sponsor He also originated the role of St. Jimmy in Green Day’s American Idiot. Vincent seattlerep.org | 206.443.2222 continues to write and produce for future projects, both as a solo artist, as a producer for other artists and under the band moniker Mercer.
FROM THE ARTIST: “From as far back as I can remember, I was deeply influenced by my father’s extensive record collection and the music that was coming out of the UK during the late ‘70s and most of the ‘80s and ‘90s. As a songwriter and performer I was heavily impacted by bands and artists that were dubbed ‘new wave,’ ‘electronic’ and ‘experimental.’ David Bowie most definitely fell into those categories — but he also took music to a new and individually iconic YOUR SYMPHONY. place — from his music to his style to his androgynous persona. Years later — after YOUR LEGACY. those songs were initially recorded — it’s not only a thrill, but an honor to perform Making a gift through your will or estate ensures his music. I have always connected to the material and I feel that now I’ve been given the orchestra thrives long into the future, an opportunity to give back to him by continuing to bring people together and lift the representing these songs in the most true and honest way that I can.” human spirit through the power of music.
For more information on planned giving and how you can make a future gift, contact [email protected] | 206.215.4852
encoreartsseattle.com 27 Friday, January 13, 2017, at 8pm Saturday, January 14, 2017, at 8pm Sunday, January 15, 2017, at 2pm LUCK BE A LADY MEGAN HILTY SINGS SINATRA & MORE SEATTLE POPS SERIES Title Sponsor:
Steven Reineke, conductor | Megan Hilty, vocals ♦ | Seattle Symphony
FRANK LOESSER Blonde Overture/ INTERMISSION /arr. Fred Barton “Luck be a Lady” ♦ Arr. Steven Reineke I Hear a Symphony: CY COLEMAN “The Best is Yet to Come” ♦ Symphonic Sounds of /lyrics Carolyn Leigh Diana Ross /arr. Quincy Jones ZAQUINHA ABREU Tico-Tico no Fubá MARC SHAIMAN “They Just Keep Moving SCOTT WHITMAN the Line” from Smash ♦ FREDERICK LOEWE/ “Almost like Being in Love”— /arr. William White /lyrics Alan Jay Lerner “This Can’t Be Love” ♦ RICHARD RODGERS, JULE STYNE “The Rainbow Connection” ♦ LORENZ HART/arr. Chris Jahnke /arr. Tim Berens MARC SHAIMAN, “Second Hand White Baby COLE PORTER I’ve Got You Under my Skin SCOTT WHITMAN Grand” from Smash ♦ /arr. Nelson Riddle/Price /arr. Jeff Atmajian
KURT WEILL Mack the Knife from BARRY MANILOW Copacabana /arr. Steven Reineke The Threepenny Opera /arr. Tim Berens
JOSEPH KOSMA, “Autumn Leaves”— JOHN KANDER, FRED EBB New York, New York BARRY MANILOW “When October Goes” ♦ /arr. Bill Elliott /lyrics Johnny Mercer /arr. Christopher Marlowe GEORGE GERSHWIN “Someone to Watch Over Me” /orch. Steven Reineke /lyrics Ira Gershwin from Oh Kay! ♦
STEPHEN SCHWARTZ “Popular” from Wicked ♦ HAROLD ARLEN “Come Rain or Come Shine” ♦ /arr. William David Brohn /lyrics Johnny Mercer
JULE STYNE, LEO ROBIN “Diamonds are a Girl’s Best Friend” from Gentlemen Prefer Blondes ♦
Concert sponsor for the Friday performance: Holland America Line
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Performance ©2017 Seattle Symphony. Copying of any performance by camera, audio or video recording equipment, and any other use of such copying devices during a performance is prohibited.
28 SEATTLESYMPHONY.ORG STEVEN REINEKE SEATTLE POPS SERIES Conductor TITLE SPONSOR Reineke is the Music Director of the New York Pops at Carnegie Hall, Principal Pops Conductor of the National Symphony Orchestra at the John F. Kennedy Center for the Photo: Photo: Michael Tammaro Performing Arts, Principal Pops Conductor of the Toronto Symphony Orchestra and Principal Pops Conductor Designate of the Houston Symphony. On stage Reineke has created programs and collaborated with a range of leading artists from the worlds hip-hop, THE Broadway, television and rock including SEATTLE SYMPHONY Kendrick Lamar, Nas, Sutton Foster, Megan Hilty, Cheyenne Jackson, Wayne Brady, THANKS MCM Peter Frampton and Ben Folds, and others. FOR MAKING As the creator of more than 100 orchestral arrangements for the Cincinnati Pops THE SEATTLE POPS Orchestra, Reineke’s work has been performed worldwide, and can be heard on SERIES POSSIBLE. numerous Cincinnati Pops Orchestra recordings on the Telarc label. His symphonic works Celebration Fanfare, Legend of Sleepy Hollow and Casey at the Bat are performed frequently in North America. His numerous wind ensemble compositions are published by the C.L. Barnhouse Company and are performed by concert bands around the world. A native of Ohio, Reineke is a graduate of Miami University of Ohio, where he earned bachelor of music degrees with honors in both trumpet performance and music composition.
FROM THE ARTIST: “I met Megan Hilty five, maybe six years ago at one of the New York Pops gala evenings. Since that first concert together, I’ve always wanted to build a show around her incredible talent. Megan has a beautiful voice and her singing is effortless, but she also has that extra ‘spice’ that makes her performances unforgettable. We’re doing some of her signature songs from Smash and Wicked, but I’m most excited about ‘Come Rain or Come Shine.’ Megan will sing Judy Garland’s arrangement from her 1961 concert at Carnegie Hall. It’s not your typical ballad. It’s high energy, almost hyper. It will absolutely bring the house down.”
encoreartsseattle.com 29 MEGAN HILTY Vocals
A native of Seattle, Megan Hilty moved to Thursday, January 19, 2017, at 7:30pm New York City after graduating from the prestigious Carnegie Mellon University, and SHOSTAKOVICH quickly made her Broadway debut as CONCERTO FESTIVAL I Photo: Nathan Johnson Nathan Photo: Glinda in Wicked. She SPECIAL PERFORMANCES went on to perform the role in both the national tour and in Los Angeles. Hilty is most recognizable for her portrayal of Pablo Rus Broseta, conductor seasoned triple-threat Ivy Lynn in NBC’s Aleksey Semenenko, violin musical drama Smash. She followed up the Edgar Moreau, cello series with a starring role on the comedy Sean Saves the World. Last spring Hilty Kevin Ahfat, piano received critical acclaim for her role of David Gordon, trumpet Brooke Ashton in the Roundabout Theater Seattle Symphony Company’s revival of Noises Off. She earned nominations for a Tony Award, Drama Desk Award and Drama League DMITRI SHOSTAKOVICH Piano Concerto No. 1 in C minor, Op. 35 21’ Award and won a Broadway.com Audience Allegro moderato— Award for Favorite Featured Actress in a Lento— Play. Earlier this year, she recurred on Moderato— Bravo’s dramedy Girlfriend’s Guide to Allegro con brio Divorce and the final season of CBS’ The KEVIN AHFAT, PIANO Good Wife. Last May Hilty released a live DAVID GORDON, TRUMPET album comprising of songs from her recent concert tour, entitled Megan Hilty Live at DMITRI SHOSTAKOVICH Violin Concerto No. 2 in C-sharp minor, 29’ the Café Carlyle. She also completed a Op. 129 residency at New York’s Café Carlyle, Moderato where she previously performed the last Adagio— two years. Last summer she appeared in Adagio—Allegro Hulu’s Difficult People and CBS’ BrainDead ALEKSEY SEMENENKO, VIOLIN and made her Australian debut as part of the Adelaide Cabaret Festival. Hilty’s most INTERMISSION recent release is a Christmas album entitled A Merry Little Christmas. DMITRI SHOSTAKOVICH Cello Concerto No. 1 in E-flat major, Op. 107 30’ Allegretto FROM THE ARTIST: Moderato— “The first time I performed this material Cadenza— Allegro con moto was with Steven Reineke and the National EDGAR MOREAU, CELLO Symphony Orchestra at the Kennedy
Center in Washington, D.C. Since then, we’ve taken this program all over the country including Carnegie Hall with the See pages 12–13 for a feature on Shostakovich. New York Pops, but it is especially thrilling to bring this concert to my hometown and perform with the great Seattle Symphony. I hope you enjoy the show!”
Please note that the timings provided for this concert are approximate.
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Performance ©2017 Seattle Symphony. Copying of any performance by camera, audio or video recording equipment, and any other use of such copying devices during a performance is prohibited.
30 SEATTLESYMPHONY.ORG PROGRAM NOTES
Shostakovich Concerto throughout the ensemble (a strings-only into a more percussive statement. The orchestra, plus the trumpet) and we finally cadenza brings back the opening mood, Festival end with a mock-Romantic mini-cadenza, with the soloist in effect accompanying The six concertos for solo instruments featuring lots of solemn pianistic devices. himself with another frenzy of double stops, and orchestra by Dmitri Shostakovich But this leads us to a very un-solemn and the movement concludes with a brief represent a lifetime of experiences. second motivic group, rich in off-beat, jokey reminiscence of the march, again with the They are distributed throughout his statements. We eventually return to the prominent horn. career, from the early Piano Concerto more serious world of the first theme, a No. 1, which the composer himself mood reinforced by the deliberate pace of A sense of calm introspection pervades premiered in 1933 when he was only 27 the second movement, a slow motion waltz the second movement, precise yet years old, to one of his latest works, the that unfolds gently in a three-part form, with propulsive, with a flowing theme articulated haunting Violin Concerto No. 2, written a sustained theme surrounding an agitated first by the soloist and then unfolding in the last years of his life. They reflect inner section featuring the piano. through a series of exchanges with the life-long friendships — the two violin wind instruments. A soaring, extremely concertos were dedicated to David The brief third movement offers a quick high passage for the soloist moves into Oistrakh and the two cello concertos reset, showcasing the piano against dense an unexpected cadenza, ushered in and to Mstislav Rostropovich. Finally, these writing for the string ensemble and taking out by the timpani. We recede back to works reflect, directly and indirectly, the us immediately into the frenetic finale. the opening theme, which again features events and pressures of the composer’s After a dramatic thematic buildup, we land the horn. It may be dangerous to equate era. This, of course, can be said about on an English music hall ditty (“Jenny sits Shostakovich’s precarious state of health at any work by any composer, but given a-weeping,” a tune Shostakovich used in this time with the meditative mood here, but the circumstances of Shostakovich’s life several works) played by the trumpet. The as the scholar Laurel Fay describes it, the and times, the surrounding political and piano’s only contribution here is a gleeful composer was “wringing [this composition] cultural events are particularly telling. chord pounded out once in the middle of out of himself note by note.” We may sense the tune. The cadenza in this movement this difficult process most clearly in this DMITRI SHOSTAKOVICH is in the “correct” place but it is turned movement. on its head, beginning with the grand BORN: September 25, 1906, in St. Petersburg concluding trill and final-sounding chords The concerto concludes, without a DIED: August 9, 1975, in Moscow and only then launching into the cadenza break, with a burlesque-like theme that proper, with musical quotations that fly by is Shostakovich’s own special terrain. It Piano Concerto No. 1 (you may catch a reference to Beethoven’s recurs several times, with prominent use of
WORK COMPOSED: 1933 “Rage Over a Lost Penny,” a fitting image the horns and abrupt interjections by the for the movement). The work concludes percussion. The cadenza is the longest of WORLD PREMIERE: October 15, 1933, at the with almost impossibly quick thematic the work, with many of the double and triple Large Hall of the Leningrad Philharmonic, restatements. stops we’ve been hearing throughout. with Fritz Stiedry conducting the Leningrad Philharmonic Orchestra and Dmitri Shostakovich Scored for solo piano, solo trumpet and Scored for solo violin; flute and piccolo; (piano) and Alexander Shmidt (trumpet) as strings. 2 oboes; 2 clarinets; 2 bassoons and soloists. contrabassoon; 4 horns; timpani, percussion and strings. Shostakovich’s First Piano Concerto actually Violin Concerto No. 2 began its life as a trumpet concerto. But, WORK COMPOSED: 1967 dissatisfied with his progress, the composer Cello Concerto No. 1 decided to add a piano to the mix and, as WORLD PREMIERE: September 26, 1967. Kirill he recalled later, the new instrument just Kondrashin conducted the Moscow Philharmonic WORK COMPOSED: 1959 took over! Although this is the earliest piece Orchestrak, and David Oistrakh was soloist. WORLD PREMIERE: October 4, 1959, at the in the festival, it nevertheless introduces Large Hall of the Leningrad Philharmonic, many of the musical fingerprints we will hear In approaching the sound world of with Yevgeny Mravinsky conducting the throughout: quick stylistic juxtapositions, Shostakovich’s final concerto, it helps to Leningrad Philharmonic Orchestra and Mstislav references to other compositions and recall the composer’s description: “virtually Rostropovich as soloist. a driving burlesque quality in the fast everything,” he said, “is set out by the solo movements. Shostakovich premiered this violin, everything is concentrated in its part.” The Cello Concerto No. 1 was concerto as the piano soloist and played it The work opens with twisting utterances Shostakovich’s first work for the brilliant many times over his performing career. by the soloist, gradually building to a cellist Mstislav Rostropovich. Although faster pace, with very difficult double stops Rostropovich was eager to ask the The opening movement gives every (playing on two strings simultaneously) composer to write for him, he knew that the indication of a solemn start. The first main for the soloist and percussive interactions only way to make this happen was to keep theme recalls Beethoven’s “Appassionata” with the ensemble. A march-like interlude quiet — so Rostropovich was relentlessly Sonata, certainly the very definition of features the horns, and this, too, builds silent and was therefore delighted when he Serious Musical Territory. It is extended
encoreartsseattle.com 31 PABLO RUS BROSETA ALEKSEY SEMENENKO PROGRAM NOTES Conductor Violin continued Following the highly Born in Odessa, successful opening Ukrainian violinist concert of Festival Aleksey Semenenko learned about the completion of the work Musica 2014 in began his violin studies ... from a newspaper article! It premiered Strasbourg, where at the age of 6 and only in Leningrad on October 4, 1959, after the Pablo Rus Broseta a year later performed performer’s heroic immersion in the piece: conducted the Vivaldi’s Violin SWR Symphony Concerto in A minor
he learned it in just four days. Chuck Moses Studio Lui Yuen Photo: Christian Steiner Photo: Orchestra in joint with the Odessa The work uncoils like a spring, with the performances with the Ensemble Modern, Philharmonic Orchestra. He currently soloist’s declamation of the primary theme, the young Spanish conductor became studies with Zakhar Bron at the just four notes, which then dominates the known to a wider international audience. Hochschule für Musik in Cologne. movement. The second motif is slightly He has since made his successful debuts Semenenko is praised for passionate slower but with urgent repeated notes, with the WDR Symphony Orchestra performances replete with “stunning introduced in a high register by the soloist. Cologne, the SWR Radio Symphony technique and intonation, verve, wit, The horn takes an increasing role as the Orchestra Stuttgart, the Orquesta delicatesse, and beautiful phrasing” (The movement proceeds, ultimately sharing Filarmónica de Buenos Aires, the Boston Musical Intelligencer). Most in a brief cadenza that is made up almost BBC Symphony Orchestra and the recently, Semenenko was a recipient of the entirely of strongly accented chords. Orquesta Sinfónica de Radio Televisión 2016 Orlando Award of the Dubrovnik Española. In 2016 he made his debuts with Summer Festival for “the best achievement The second movement provides some the Ensemble intercontemporain and the in music.” As winner of the 2012 Young repose, with a stately motif made up of Orquesta Sinfónica do Porto, and has been Concert Artists International Auditions, he unexpected intervallic detours projected re-invited to both the WDR and the SWR as was presented in debut recitals at Merkin against a rich orchestral fabric. Again well as Ensemble Modern. In autumn 2015 Concert Hall in New York and the Kennedy the horn’s role is prominent, especially he took up the position of Assistant Center in DC, for which he received critical at the beginning and ending, with a Conductor of the Seattle Symphony and acclaim. passionate interlude in between whose was promoted to Associate Conductor for growing intensity is marked by the the 2016–2017 season. He is rapidly FROM THE ARTIST: increasing use of double stops by the building a wide-ranging repertoire from “My favorite thing about performing is soloist. The movement subsides with a Handel to John Adams, with a focus on the sharing my feelings or story with the striking passage for cello playing the eerie great symphonic repertoire. audience and using the reflection of glass-like sounds produced by harmonics people, which comes back to me while (touching the string very lightly in order to FROM THE ARTIST: playing and helps me to succeed even produce a higher, hollow-sounding pitch), “I have to admit that I always had a love- more. This will be my first performance on complemented by the pure sounds of the hate relationship with Shostakovich. Maybe the West Coast of the U.S. — the important celeste. A final passage by the low strings I have been influenced by what the French and challenging one. The music of returns us to earth, but we are immediately conductor and composer Pierre Boulez Shostakovich is quite hard to understand. launched into the third movement, said about Shostakovich’s music. Boulez You have to grow into it. For me especially Cadenza, in which the soloist reflects on thought that the musical substance of into the Second Concerto, which is the previous themes and techniques, building this music is trivial. Maybe Shostakovich less famous one. This is already late to a stunning density before drawing the was not pushing the limits of the musical Shostakovich. You have to dive into ensemble into the final movement. language, but I think that his personal way a certain atmosphere, sometimes a of expression is unique and that’s what depressed or demonic one. Darkness and There is a carnivalesque quality to this last remains. His sound has always attracted deepness. There is not even one happy movement, which maintains its reckless me — especially the musical pacing of his or relaxed moment through the whole two pace throughout. Shostakovich includes concertos. One can discover a lot about concertos. He reflects very much on the a sly reference to one of Stalin’s favorite his personality and character through the time of the Soviet Union, this regime, war tunes, “Suliko” — don’t worry if you miss it, way he uses the soloist, the orchestral and the time right after. He is probably the for even Rostropovich was surprised when sound or the string quartet. All the political most Sovietic composer of all. I can judge the composer pointed it out! The horn and social events and issues around his or compare his music to that time only by is again featured, particularly toward the music are really important to understand watching videos or some documentaries, end, when it proclaims, double forte, the him, but his sound reveals a lot about him which helps a lot.” opening four-note figure with which the in a subtle way.” concerto began.
Scored for solo cello; 2 flutes (the 2nd doubling piccolo); 2 oboes; 2 clarinets; 2 bassoons (the 2nd doubling contrabassoon); horn; timpani, celeste and strings.
© 2017 Claudia Jensen
32 SEATTLESYMPHONY.ORG EDGAR MOREAU KEVIN AHFAT DAVID GORDON Cello Piano Trumpet
Born in 1994 in Paris, As an artist that “leaves David Gordon, whose Edgar Moreau began no question about his playing has been playing the cello at the riveting presentation described as age of 4 and the piano and technical finesse” “spectacular” at 6. He studied with (The Seattle Times), by The Chicago Philippe Muller at the Canadian-born pianist Tribune, is Principal Conservatoire National Kevin Ahfat is Trumpet of the Seattle Supérieur de Paris, and acclaimed to be Symphony and Photo: Matt Dine Photo: currently works with ArthurPhoto: Moeller “poised to become one Matthew KurtisPhoto: Images Chicago’s Grant Park Frans Helmerson at the Kronberg of the young heirs of the classical piano Symphony Orchestra. As a soloist, Gordon Academy. “The rising star of the French realm, with a bold, boundary-pushing, has appeared with the symphony cello” consistently captivates audiences millennial style matched by refined orchestras of Seattle, Grant Park and with his effortless virtuosity and dynamic execution” (Vanguard Seattle). He has Charleston, the National Repertory performances” (Le Figaro Magazine). appeared as a multi-faceted solo and Orchestra and the Lake George Chamber Moreau won First Prize in the 2014 Young chamber artist nationally and Orchestra. As a guest, he has performed Concert Artists International Auditions and internationally, collaborating with a wide as Principal Trumpet of the St. Louis he is one of the European Concert Hall range of artists including Jean-Yves Symphony Orchestra, and has also Organization’s 2016–2017 Rising Stars. Thibaudet, Joshua Roman, Paul Katz and performed, recorded and toured as Moreau has two critically acclaimed CDs Ani Kavafian. Ahfat captured the First Prize Principal Trumpet of the London Symphony on the Erato (Warner Classics) label, one of at the inaugural Seattle Symphony Orchestra and as Trompette Solo of the which earned him the Newcomer Prize at International Piano Competition in 2015 Orchestre Philharmonique de Radio the 2016 Echo Klassik Awards. and returns this season for the Seattle France. A native of Narragansett, Rhode Symphony’s 2017 Shostakovich Concerto Island, Gordon was educated at Columbia FROM THE ARTIST: Festival. He also works as part of The University and The Juilliard School. He was “I love being on stage... Playing in front of Juilliard Global Ventures team, developing recipient of The New York Times Company an audience is my way to disconnect from new digital interactive environments to National Merit Scholarship. reality. It’s why I’m practicing to control reach aspiring pianists across the globe. everything until the time that I’m not myself Currently, Ahfat continues his studies at anymore because I’m already deeply in the The Juilliard School with Joseph music. That’s a unique feeling and that’s Kalichstein and Stephen Hough. why performing is my job. The first time I performed Shostakovich’s First Concerto FROM THE ARTIST: was with the Moscow Philharmonic in the “Words cannot sufficiently describe just beautiful Tchaïkovski Hall in 2012 and the how thrilled and ecstatic I am to be back in first time I played the Second Concerto Seattle, so I’m hoping that the electrifying was with Valery Gergiev and the Mariinski musical energy of these fantastic works Orchestra. Both times were an incredible will help convey my sentiments! It truly experience and since then, I’ve really liked feels like it was just yesterday that I was to play these pieces all over the world. anxiously but excitedly walking into These two concertos are really different my first rehearsal with Ludovic and the but you can find the same main philosophy orchestra, and I can’t wait to return with in general in the Shostakovich music. It’s these two Shostakovich concertos that very dark but with a lot of sarcasm. There have always been, in my opinion, quite the is a lot of violence, and a lot of sadness. underdogs of the piano concerto canon. But I think there’s also some kind of hope. Both are seemingly compact but filled to That’s for me a picture of USSR at this time. the brim with the composer’s trademark Looking forward to sharing the stage with sly personality, from the sardonic wit of the Seattle Symphony and to discover the the First Concerto to the brilliant buoyancy city!” of the Second. One of my favorite things about playing Shostakovich is experimenting with just how far I can take both his exuberance and his sarcasm, and there are endless opportunities in both concertos to do just that. I’m hoping to keep the audience on their toes!”
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Friday, January 20, 2017, at 8pm See an introduction to the Shostakovich Concerto Festival on page 31.
SHOSTAKOVICH DMITRI SHOSTAKOVICH CONCERTO FESTIVAL II BORN: September 25, 1906, in St. Petersburg SPECIAL PERFORMANCES DIED: August 9, 1975, in Moscow
Cello Concerto No. 2 Pablo Rus Broseta, conductor WORK COMPOSED: 1966 Aleksey Semenenko, violin WORLD PREMIERE: September 25, 1966, at the Edgar Moreau, cello Large Hall of the Moscow Conservatory, with Kevin Ahfat, piano Yevgeny Svetlanov conducting the USSR State Seattle Symphony Symphony Orchestra and Mstislav Rostropovich as soloist.
DMITRI SHOSTAKOVICH Cello Concerto No. 2 in G major, Op. 126 33’ Shostakovich’s Cello Concerto No. 2 Largo was dedicated, like the first, to Mstislav Scherzo: Allegretto— Rostropovich, but it also marked another Finale: Allegretto event, for it premiered at the Moscow EDGAR MOREAU, CELLO Conservatory on September 25, 1966, the composer’s 60th birthday. The description DMITRI SHOSTAKOVICH Piano Concerto No. 2 in F major, Op. 102 20’ of this concerto by historian Malcolm Allegro MacDonald summarizes Shostakovich’s Andante— later style as a whole: the work, he says, is Allegro “oblique, intimate, elegiac, filled with painful KEVIN AHFAT, PIANO radiance, bizarre humor, nostalgia and regret.” It is, in other words, a work — and a INTERMISSION life — that contains multitudes. DMITRI SHOSTAKOVICH Violin Concerto No. 1 in A minor, Op. 77 (99) 39’ It opens to a landscape of stillness, Nocturne: Moderato gradually unfolding the full range of the Scherzo: Allegro Passacaglia: Andante— solo instrument. The ensemble increases Burlesca: Allegro con brio in density and pace, pausing to offer sweet ALEKSEY SEMENENKO, VIOLIN exchanges between the cello, harp and horn. This builds to a brisk new thematic idea, colored by the brittle sound of the xylophone. An abrupt drum stroke changes Musician biographies may be found on page 32 & 33. the mood, concluding with a flickering review of the original musical ideas. See pages 12–13 for a feature on Shostakovich. The second movement uses a tune from the city of Odessa, “Kupitye Bubliki” (Buy my bubliki — a kind of bagel-shaped bread); as Shostakovich said, the song just “slipped its own way” into the piece. It begins in a jaunty mood, the tune stated clearly by the soloist. The pace increases until the horns and a sustained drum roll take over with a mock fanfare. There is no break between the second and third movements, and this military battery introduces an extended cello cadenza. To the ominous Please note that the timings provided for this concert are approximate. accompaniment of the tambourine, the soloist reviews melodic ideas from the Please turn off all electronic devices and refrain from taking photos or video. previous movements, and then transitions Performance ©2017 Seattle Symphony. Copying of any performance by camera, audio or video recording into the last movement. Its two themes are equipment, and any other use of such copying devices during a performance is prohibited. quite different, one featuring a pastoral lyricism, the other more march-like, yet we
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slip and slide between them, never sure when it was renumbered Op. 99. This of our ground. Another percussion-cello is the reason for the double listing on cadenza takes us into a reprise of the It was written during one our program, which gives priority to the “Bubliki” theme, menacing now, with violent original date (and, thus, the circumstances) punctuating whip cracks. The work subsides of the most harrowing of this composition. into a single long note by the soloist, with rustling percussion ultimately dying out at periods of his life, in The opening movement is called the end. As Elizabeth Wilson writes, the 1947–48, during the Nocturne, a title used in musical works effect “is not so much of an ending as an to suggest the mood of the night: still, unanswered question which hangs in frozen series of post-War calm, even unearthly. This is precisely suspense.” the feeling of this movement, with its campaigns aimed aria-like solo violin melody. Some of Scored for solo cello; flute and piccolo; Shostakovich’s favored approaches 2 oboes; 2 clarinets; 3 bassoons (the 3rd comprehensively at appear here, with contrasts in register doubling contrabassoon); 2 horns; timpani (listen for the tuba and contrabassoon) and percussion; harp and strings. Soviet arts and sciences. and in timbre or color (for example, the harp and celeste, a combination we also
heard in the first cello concerto). Piano Concerto No. 2 hard to tap your foot to this motif!). The The calm is broken by the spiky and WORK COMPOSED: 1957 octave writing in the solo part comes into propulsive second movement. This WORLD PREMIERE: May 10, 1957, at the Large full bloom in this movement, particularly movement gives listeners a hint of a Hall of the Moscow Conservatory, with Nikolai as we transition back to a restatement motivic device that Shostakovich would Anosov conducting the USSR State Symphony of the opening material. But we never use later, especially starting with his Tenth really regain our rhythmic equilibrium, Orchestra and Maxim Shostakovich as soloist. Symphony (1953), a circling four-note as Shostakovich continues to tease us, motif derived from his initials, spelled out alternating various rhythmic groups so Shostakovich’s good-natured, compact in musical notes. (The motif is suggested that we are always slightly (if happily) off Piano Concerto No. 2 was written in here in the winding half-step intervals of balance, even when the familiar opening 1957 and premiered that year by his son, the melody.) The following movement theme returns. Maxim, who performed the work on his is a passacaglia, a form that uses a 19th birthday. Although Maxim may be repeating melodic statement that sounds Scored for solo piano; 2 flutes and piccolo; known best as a conductor, especially throughout. The melody begins in the low 2 oboes; 2 clarinets; 2 bassoons; 4 horns; as an interpreter of his father’s works, he strings and eventually passes throughout timpani, percussion and strings. has always been active as a pianist; a few the orchestra, with a reverberant years before composing this concerto, statement by the solo violin toward the Shostakovich wrote the Concertino for Two end. Here, too, the orchestral colors and Pianos also for Maxim. Violin Concerto No. 1 combinations are evocative, taking us The first movement offers abundant WORK COMPOSED: 1947–48 into a stunning cadenza that is truly a meditation on our journey through the thematic material delivered in a rapid- WORLD PREMIERE: October 29, 1955, at the previous movements; the four-note motif fire pace. Although the composer’s son Large Hall of the Leningrad Philharmonic, with performed the premiere, Shostakovich sounds out clearly. We move directly into Yevgeny Mravinsky conducting the Leningrad himself often played the work, and in his the final movement, “Burlesque,” raucous Philharmonic Orchestra and David Oistrakh as recordings, the already fast passages feel and relentless. An ironic reflection on the soloist. even more propulsive and percussive. The passacaglia theme flashes by, distorted piano writing, particularly in the first and by the woodwinds and xylophone and third movements, features many passages Our festival ends, fittingly, with the Violin forming a component of the final presto in octaves for both hands, growing in places Concerto No. 1, a work that occupies a section, with dizzying alternations to rambunctiously pounded chords. The central place in Shostakovich’s career. between the solo violin (echoing that lovely Andante, the second movement, is It was written during one of the most passacaglia motif) and the orchestral warm and simple, with a singing melody harrowing periods of his life, in 1947–48, ensemble. in the piano that proceeds throughout in during the series of post-War campaigns gentle, rocking triplets that move us directly aimed comprehensively at Soviet arts and Scored for solo violin; 3 flutes (the 3rd into the final movement, a complete change sciences. The infamous February 1948 doubling piccolo); 3 oboes (the 3rd of pace. The opening, almost fanfare-like decree condemning music and composers doubling English horn); 3 clarinets (the 3rd theme is set out with clockwork regularity was issued exactly as Shostakovich was doubling bass clarinet); 3 bassoons (the and an angular melodic profile. This sets working on this concerto (the Passacaglia 3rd doubling contrabassoon); 4 horns; up a wonderfully jarring contrast with the movement, specifically), which he intended tuba; timpani and percussion; celeste; second major theme group, written in for David Oistrakh. He finished it soon harp and strings. groups of seven (which is why it may be thereafter, as Op. 77, but it was not performed publicly for seven years, in 1955, © 2017 Claudia Jensen
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Thursday, January 26, 2017, at 7:30pm Saturday, January 28, 2017, at 8:00pm Classical and Neoclassical The classical ideal in music, which MENDELSSOHN extols clarity, refinement, established forms and sophisticated elegance, & SCHUBERT found its most consistent expression during the second half of the 18th century. At this time, the precepts of musical classicism informed James Feddeck, conductor masterpieces by the leading composers Alexei Lubimov, piano of the era, most notably Haydn and Seattle Symphony Mozart.
Beginning in the second quarter of the FELIX MENDELSSOHN The Hebrides (“Fingal’s Cave”), Op. 26 10’ 19th century, a new artistic outlook, Romanticism, displaced Classical FRANZ JOSEPH HAYDN Piano Concerto in D major, H. XVIII:11 19’ precepts in the imaginations of most Vivace composers. But in time, everything Un poco Adagio old becomes new again. Just as the Rondo all’Ungarese: Allegro assai Romantic movement arose as a revolt ALEXEI LUBIMOV, PIANO against the rationalism and urbane manner of the preceding era, so INTERMISSION musicians of the early 20th century turned against what they deemed MAURICE RAVEL Le tombeau de Couperin 16’ the grandiloquence and excessive Prélude emotionalism of Romanticism. In place Forlane of those qualities, many composers Menuet sought to recapture the lucidity and Rigaudon grace they perceived in music of the 18th century. To that end, they FRANZ SCHUBERT Symphony No. 5 in B-flat major, D. 485 26’ deliberately reduced their instrumental Allegro forces, adopted lean contrapuntal Andante con moto textures and frequently employed Menuetto: Allegro molto antique dance forms or other clear, Allegro vivace concise designs. Neoclassicism, as the reaction came to be called, proved an important strain of 20th-century composition.
Pre-concert Talk one hour prior to each performance. Our program draws on both the Speaker: Peter Schmelz, Associate Professor of Musicology in the School of Music Classical and Neoclassical traditions within the orchestral literature. In the at Arizona State University. first instance, we have a concerto by Franz Joseph Haydn, an exemplary practitioner of musical Classicism, This concert is supported by Sue and Robert Collett. and a symphony by the young Franz Schubert. We also hear a landmark of 20th-century Neoclassicism, Maurice Ravel’s beautiful homage Le tombeau de Couperin. But we begin with a piece that falls into neither of these categories. Felix Mendelssohn’s musical postcard from a trip to Scotland’s northern islands uses the classic form Please note that the timings provided for this concert are approximate. of a concert overture but fills that Please turn off all electronic devices and refrain from taking photos or video. venerable vessel with poetic melodies, Performance ©2017 Seattle Symphony. Copying of any performance by camera, audio or video recording harmonies and orchestral colors very equipment, and any other use of such copying devices during a performance is prohibited. much in the style of 19th-century Romanticism.
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FELIX MENDELSSOHN The Hebrides (“Fingal’s Cave”), Op. 26
BORN: February 3, 1809, in Hamburg DIED: November 4, 1847, in Leipzig WORK COMPOSED: 1830–32 WORLD PREMIERE: May 14, 1832, in London, conducted by the composer.
Anyone who has experienced youthful adventures in a foreign land will appreciate the sense of exhilaration, freedom and discovery the 20-year-old Felix Mendelssohn felt during his journey through Scotland in the summer of 1829. From London, where he had participated in a series of concerts, the young musician set out by coach and on foot, heading north. In Edinburgh he visited old castles and churches. By August he reached the Hebrides Islands, enduring bad weather and a bout of sea-sickness on the way. There Mendelssohn sent a brief message to his family back in Berlin: “In order to make clear to you what a strange mood came over me in the Hebrides, the following just occurred to me.”
“The following” was a sketch of some 20 measures of music that proved the genesis of a concert overture that Mendelssohn called The Hebrides. The composer made two drafts of this work during the ensuing two years but was satisfied with neither. “The ... development tastes more of counterpoint than of whale oil and seagulls and cod-liver oil,” he complained in a letter in January, 1832, “and it ought to be the other way around.” Not until November of 1832 did he succeed in shaping the piece to his liking.
This composition fulfills with equal success the requirements of descriptive music and concert overture. From a formal perspective, Mendelssohn deftly handles the conventions of sonata design, with statement, development and recapitulation of the overture’s several themes all clearly articulated. But it is the music’s imaginative rather than formal attributes, particularly its extraordinary evocation of motion and space, that make this work so compelling.
WHAT TO LISTEN FOR: The opening subject, with its short, searching phrases and restlessly shifting harmonies, suggests
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something of the “strange mood” that the style is notable for its efficient use of solo harmonies, its atmospheric textures and bleak islands instilled in the composer, instruments rather than for conspicuous its distinctive use of orchestral color could while the central development section virtuosity. It is an approach appropriate to hardly be the work of any other composer. culminates in a brief but dramatic musical the composer’s lively and original musical storm. Mendelssohn recalls part of this intelligence, which informs every page of WHAT TO LISTEN FOR: The first tempestuous music in the coda passage this D major concerto. movement, Prélude, opens with a that closes the piece, but he avoids the rustling of woodwinds — specifically, a cliché of a strong ending in favor of quiet, WHAT TO LISTEN FOR: The first of the running melody given out in a famously haunting echoes of the initial motif. concerto’s three movements flows from challenging oboe solo. Other instruments the cheery melody heard in its opening take up this theme in a game of flight and Scored for pairs of winds, horns and measures, yet Haydn later concentrates pursuit. Forlane, the second movement, trumpets; timpani and strings. much of his attention on developing the uses the rhythm of the old dance from squarish three-note figure that closes which it takes its title, but its principal FRANZ JOSEPH HAYDN the first phrase of this theme. (The figure melody, heard at once in the violins, bears a close resemblance to the one is decidedly modern in its angular Piano Concerto in D major, H. XVIII:11 that would provide such unexpected profile. The movement’s closing gesture, in jolts in the composer’s famous “Surprise” the violins, prefigures the opening bar of Symphony.) Following a song-like middle the ensuing Menuet, in which a feeling of BORN: March 31, 1732, in Rohrau, Austria movement, the composition concludes restraint and nostalgia prevails. That tone DIED: May 31, 1809, in Vienna with a “Hungarian” rondo, so-called for is swept away in the opening measures WORK COMPOSED: 1784 or a bit earlier the seemingly exotic turns of phrase in its of the Rigaudon, whose incisive phrases WORLD PREMIERE: Unknown recurring principal theme. and bright orchestration produce a spirited effect. Franz Joseph Haydn’s standing as one Scored for solo piano; 2 oboes, 2 horns of the finest composers of his day rests and strings. Scored for 2 flutes and piccolo; 2 oboes securely on his symphonies and string and English horn; 2 clarinets; 2 bassoons; quartets, his keyboard sonatas, and MAURICE RAVEL 2 horns; trumpet; harp and strings. some splendid choral music. His several Le tombeau de Couperin keyboard concertos form a comparatively FRANZ SCHUBERT little-known portion of his output. All but one are early works of relatively slight Symphony No. 5 in B-flat major, D. BORN: March 7, 1875, in Ciboure, southwest stature, and the exception, the Concerto 485 in D major we hear now, is not known France with absolute certainty to be Haydn’s DIED: December 28, 1937, in Paris BORN: January 31, 1797, in Vienna composition. This piece was published WORK COMPOSED: 1914–19 DIED: November 19, 1828, in Vienna under Haydn’s name in several cities WORLD PREMIERE: February 28, 1920, in in 1784. That fact does not prove its Paris. The Orchestre Pasdeloup played under WORK COMPOSED: 1816 pedigree, however. During Haydn’s the direction of René Baton. WORLD PREMIERE: After a private reading lifetime, unscrupulous publishers attributed in Vienna in 1816, the first public performance many spurious compositions to the We owe the next work on our program occurred on February 1, 1873, in London. August composer as he grew increasingly famous. to not one but two French composers: Manns conducted the orchestra of the Crystal Maurice Ravel, who wrote it, and François Palace. Haydn scholars sensed a red flag Couperin (1668–1733), who stands behind regarding the authenticity of this concerto, it as something of a guiding spirit. For Schubert was not yet 20 when he since the original manuscript of the score centuries, French musicians have used the completed his Fifth Symphony, in the was lost and the composer neglected term “tombeau” to denote a composition autumn of 1816. Like so many of this to include the work in either of the written to honor a deceased colleague. composer’s works, it was created for catalogues of his music he had drawn up The most famous modern instance of this the enjoyment of his musical friends. during his lifetime. Still, stylistic evidence practice is by Ravel, whose Le tombeau de Schubert participated in an amateur points strongly to Haydn’s authorship. Couperin pays homage to its namesake. chamber orchestra that met in the home In addition, a letter the composer wrote of a Viennese musician, Otto Hatwig, in 1787 to an English publisher offering Ravel completed this piece in 1919, and it was there that the Fifth Symphony consignment of “a large keyboard conceiving it as a suite modeled on was first heard. The circumstance for concerto” most probably refers to this the dance forms that underlie many of which Schubert composed this symphony work, since Haydn produced none other Couperin’s harpsichord pieces. But while accounts for its comparatively slender fitting that description after about 1770. evoking something of the spirit of 18th- orchestration, and for the music’s intimate century music, Le tombeau de Couperin character and Mozartean grace. Haydn once declared: “I was a wizard at is unmistakably in Ravel’s own manner. no instrument, but I knew the strength Indeed, its pleasing but ever-surprising and working of all,” and his concerto
38 SEATTLESYMPHONY.ORG JAMES FEDDECK ALEXEI LUBIMOV Conductor Piano
Moscow-born Alexei “A tremendous find… Lubimov is one of the WHAT TO LISTEN FOR: Schubert follows Musicians of this calibre most strikingly original the classic symphonic format of four are like gold dust” (The and outstanding movements. The first opens with a scant Herald), American pianists performing introduction before launching into its conductor James today. Early in his principal subject, a winsome melody Feddeck is rapidly career he established a enriched by discreet echoes in the becoming one of the dual passion for bass instruments. Soon a second theme Sechet Francois Photo: most interesting and Baroque music and appears in the violins and quickly is taken Benjamin Ealovega Photo: remarkable conductors 20th century composers ranging from up by the woodwinds. Schubert’s inventive of today, impressing orchestras with his Schönberg to his contemporaries Sofia development of these ideas frequently outstanding musicianship on both sides of Gubaidulina and Arvo Pärt. He premiered involves combining fragments of each the Atlantic. Winner of the prestigious Solti many great 20th century pieces in Russia, theme in counterpoint. Conducting Award in 2013, Feddeck was where authorities criticized his Assistant Conductor at The Cleveland commitment to Western music. That led to The second movement forms the heart Orchestra. He studied with David Zinman at his work in Early Music. He continues to of this symphony. Here Schubert treats the Aspen Music Festival and School where perform both “old” and “new” music in two themes in alternation, the first being he received the Aspen Conducting Prize in performances and on many of his a lyrical idea introduced in the strings, the 2008. Since then he has conducted many recordings. Once political restrictions were second emerging from a series of yearning world class orchestras including Chicago lifted, Lubimov emerged among the first woodwind phrases. The composer leads Symphony Orchestra, Deustches Symphonie rank of international pianists, performing these subjects across far-flung harmonic Orchester Berlin and San Francisco throughout Europe, North America and terrain, their excursions making for one of Symphony Orchestra. In addition to his Japan. He has played concertos with many his most beautiful symphonic movements. conducting, James Feddeck is an of the leading orchestras of the world and accomplished organist and has performed given recitals in the world’s great concert The minuet third movement, in the dark recitals throughout Europe and North halls, frequently with programs of unusual tonality of G minor, is surprising in its America. He studied oboe, piano, organ and thought and captivating repertoire: a violence and recalls the corresponding conducting at the Oberlin Conservatory of concert of Haydn under Sir Roger movement in Mozart’s Symphony No. Music and in 2010 was recognized as the Norrington, Pärt’s Lamentate in Vienna’s 40, written in that same key. Schubert first recipient of the Outstanding Young Musikverein, or Prometeus by Scriabin at balances its unexpected intensity with a Alumni Award. the Salzburg Festival. bucolic central episode. He then banishes any lingering shadows with a bright and FROM THE ARTIST: Alexei Lubimv’s numerous recordings have high-spirited finale. “It is a great pleasure for me to join the been issued on the Melodia, Erato, BIS, musicians of the Seattle Symphony for these Sony, ECM and Harmonia Mundi label. Scored for flute; 2 oboes; 2 bassoons; performances which mark my debut with Since 2003 he has recorded regularly 2 horns and strings. this orchestra. Each of these four musical for ECM, producing CDs of particular works is its own musical world and the note music of CPE Bach alongside © 2017 Paul Schiavo responsibility of performing such remarkable John Cage and Tigran Mansurian; Arvo creative statements is a humbling task. To Pärt’s Lamentate; music of Stravinsky, unite musicians under a singular vision for Shostakovich, Prokofiev and Scriabin; the expression of the music is an exciting and Misteriosos with music of Silvestrov, and yet daunting mystery. It is what initially Ustvolskaya and Pärt. ECM New Music inspired me to the craft of conducting released his recording of Debussy orchestras and it is what keeps my artistic Preludes in 2012. imagination thriving — that and the pure limitless palate of color in sound. But FROM THE ARTIST: the most important component of any “Haydn Concerto in D was always one performance is our audience, for that is the of my favorite pieces. I performed it on very definition of a concert: the sharing of harpsichord in the 1970s and ‘80s and on music with others. To be that catalyst from modern piano for the past 10 years. The stage to audience, that too is an awe- most exciting performance to date was inspiring responsibility that I enthusiastically with Sir Roger Norrington conducting at embrace. Live orchestral music is a thrilling Avery Fischer Hall in New York, when we and powerful force and one which uplifts found several experimental performing and unites.” methods similar to folk music.”
encoreartsseattle.com 39 Friday, January 27, 2017, at 7pm SCHUBERT UNTUXED UNTUXED SERIES
James Feddeck, conductor Jonathan Green, host Seattle Symphony
FELIX MENDELSSOHN The Hebrides (“Fingal’s Cave”), Op. 26 10’
FRANZ SCHUBERT Symphony No. 5 in B-flat major, D. 485 26’ Allegro Andante con moto Menuetto: Allegro molto Allegro vivace
James Feddeck’s biography may be found on page 39.
Audience Development supported by The Wallace Foundation.
Please note that the timings provided for this concert are approximate.
Please turn off all electronic devices and refrain from taking photos or video.
Performance ©2017 Seattle Symphony. Copying of any performance by camera, audio or video recording equipment, and any other use of such copying devices during a performance is prohibited.
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EAP full-page template.indd 1 9/6/16 11:17 AM PROGRAM NOTES
Friday, January 27, 2017, at 10pm The Ukrainian composer Valentin Silvestrov (b. 1937) studied at the conservatory in his native Kiev from 1958 [UNTITLED] 2 to 1964, a time when Soviet composers [UNTITLED] SERIES faced continuing pressure to work within accepted Socialist styles. In early compositions such as the Elegy for solo Alexei Lubimov, piano | Mary Lynch, oboe | Chengwen Lai, oboe | piano from 1967, his experiments with Rob Tucker, percussion | Jessica Choe, celeste | Natasha Bazhanov, violin | 12-tone composition and other thorny techniques placed him squarely against Brittany Boulding, violin | Artur Girsky, violin | Mikhail Shmidt, violin | the establishment. His style has softened Sayaka Kokubo, viola | David Sabee, cello | Joseph Kaufman, double bass over the years, but as he approaches the age of 80 he remains a committed change agent in Ukraine, inserting his musical VALENTIN SILVESTROV Elegy 5’ voice into the recent political turmoil. ALEXEI LUBIMOV, PIANO Born in the Soviet republic of Azerbaijan, Alexandre Rabinovitch-Barakovsky (b. ALEXANDRE Récit de voyage 22’ 1945) studied piano and composition at RABINOVITCH-BARAKOVSKY MIKHAIL SHMIDT, VIOLIN the Moscow Conservatory. Even before DAVID SABEE, CELLO he left the Soviet Union in 1974, he was ROB TUCKER, PERCUSSION experimenting with techniques that ALEXEI LUBIMOV, PIANO paralleled the Minimalist style being JESSICA CHOE, CELESTE developed in the United States by GALINA USTVOLSKAYA Octet 20’ Philip Glass, Steve Reich and others. He continued to explore these directions after q = 66— q = 80 settling in Switzerland, as can be heard in q = 69 Récit de voyage from 1976. q = 132— q = 48 “Two years had gone by since I emigrated MARY LYNCH, OBOE from the Soviet Union,” Rabinovitch- CHENGWEN LAI, OBOE Barakovsky explained in a program note. ARTUR GIRSKY, VIOLIN “This realization made me reflect over NATASHA BAZHANOV, VIOLIN the hidden meaning of the parable of MIKHAIL SHMIDT, VIOLIN the prodigal son in the Gospel according BRITTANY BOULDING, VIOLIN to St. Luke.” To develop this theme, he ROB TUCKER, PERCUSSION referenced three past composers and ALEXEI LUBIMOV, PIANO excerpts that he described as “poles of attraction.” The first was the “call-motif” PAVEL KARMANOV The City I Love and Hate 30’ from Beethoven’s Piano Sonata in A major, ALEXEI LUBIMOV, PIANO Op. 101, which Rabinovitch-Barakovsky ARTUR GIRSKY, VIOLIN characterized as “a musical allegory of NATASHA BAZHANOV, VIOLIN the incitement to travel.” The second SAYAKA KOKUBO, VIOLA was Schubert’s Wanderer Fantasy, Op. DAVID SABEE, CELLO 15, which provided both the “obsessive JOSEPH KAUFMAN, DOUBLE BASS rhythm … symbolizing the journey itself” and also another motive “representing Musicians’ biographies may be found at seattlesymphony.org or on the a state of extreme emotional confusion.” Listen Boldly app. Finally he included the iconic chords from Wagner’s Tristan und Isolde; in Récit [untitled] is generously supported by the Judith Fong Music Director’s Fund. de voyage “this motif of Tristan appears Audience Development supported by The Wallace Foundation. distorted and grimacing.” Media Sponsor: secondinversion.org The amplified ensemble incorporates a profusion of pitched percussion along Please note that the timings provided for this concert are approximate. with celeste and piano, giving the Please turn off all electronic devices and refrain from taking photos or video. textures a crisp, clock-like momentum. Performance ©2017 Seattle Symphony. Copying of any performance by camera, audio or video recording The outliers are the violin and cello, with equipment, and any other use of such copying devices during a performance is prohibited. their ability to play all the pitch gradations between the fixed “black” and “white”
42 SEATTLESYMPHONY.ORG ALEXEI LUBIMOV PROGRAM NOTES Piano
Alexei Lubimov’s biography may be notes. At the beginning and end, the except here the delivery is so stark that it found on page 39. two string players execute fluid slides, would seem equally appropriate to laugh or cry. The fifth and final section hardly their irrational pitches and rhythms FROM THE contradicting the orderly patterns and resolves the conflict; instead it sets up a ARTIST: radiant chords from the rest of the group. battle between two disconnected worlds, “I am a personal Throughout Récit de voyage, ideas morph one marked by slow and quiet lyricism, the friend and regular and migrate in gradual but unexpected other shuddering with rat-a-tat repetitions Sechet Francois Photo: performer of each ways. Compared to his American from the timpani. of the three contemporary Russian contemporaries, Rabinovitch-Barakovsky composers — Galina Ustvolskaya, was pursuing a more expressive and Pavel Karmanov (b. 1970) moved to Alexander Rabinovitch-Barakovsky and philosophical application of Minimalist Moscow as a student during the Soviet Pavel Karmanov. I have performed their techniques, and the travel story of Récit years, and he has remained there since, music since the early 1990s. Works by de voyage provided a perfect platform for leading a diverse and successful career. Ustvolskaya and Rabinovitch are always a that musical wanderlust. Besides composing concert music, he strong experience for me; travel through also creates scores for television shows unknown musical landscapes. This Galina Ustvolskaya (1919–2006) was a and advertisements, performs as a pianist music, although very different, has deep student of Shostakovich at the Leningrad and flutist, and plays with a well-known emotional content and an absolutely Conservatory from 1939 to 1947, and yet rock band. personal universe and language. The in a letter to her he professed, “It is not works are like rituals bringing the listener you who are influenced by me; rather it Karmanov composed this score for piano, to some central point of astonishment is I who am influenced by you.” Despite two violins, viola, cello and bass in 2012. As and understanding. Karmanov’s works are a limited output that amounted to fewer he explained in the liner notes for a recent reflections on the music of Steve Reich than 30 serious works, Ustvolskaya forged recording, “The creation of the sextet The and John Adams. They are accessible one of the most distinctive voices of the City I Love and Hate was initiated by my to a broad audience, and always have 20th century. Her enduring nickname, friend and fellow pianist, Alexei Lubimov. a strong tonal construction and melodic first applied by a Dutch critic, captures the It is about my city — Moscow, where I’ve charm.” intensity of a sound and attitude that is all lived for almost 40 years. I love this place. the more appreciated today: She was and But, each time I return to it from other remains “the lady with the hammer.” places, I hate it for the suffocating smog; for the snow, black from dirt and chemicals; Ustvolskaya’s style had already crystallized for the grim faces of passersby and for by the time she composed an Octet in the fact that the changes in its external 1950 for the unusual combination of two appearance are not always for the better. oboes, four violins, timpani and piano. Soon, this feeling passes and I once more The plaintive oboe melodies and smooth start enjoying the architecture, friends, and violin slurs of the first section show off time with my family. Again I love Moscow her gentler side, with phrases that seem for what it is.” rooted in Russian speech and song, much like the modal themes of early Stravinsky. The City I Love and Hate unfolds in one continuous span lasting close to half an The slightly faster second section is hour. In the outer sections, an asymmetrical exactly the kind of music that earned groove constructed with seven beats per Ustvolskaya her title as “the lady with measure provides a steady and restless the hammer.” The music progresses forward drive. At the beginning the delivery in unrelenting quarter-notes, and the is patient and meditative, with a character dynamic markings keep the players that is part Bach Prelude, part pop ballad. pushed toward their loudest extreme. After a gradual buildup and dissipation, a Two-note clusters and even four-note contrasting section enters with music that chords from the timpani impart a pounding, channels a Renaissance viol consort. When ritualistic fervor. the earlier seven-beat pattern returns in the plucked strings, it begins a long surge that The third section moves to the opposite grows toward a raucous, bluesy climax. A extreme, with the oboes and muted violins delicate conclusion brings back nostalgic contributing only ghostly wisps of phrases. echoes from the work’s opening passage. Still the unwavering quarter-notes hammer on, with the timpani providing a pulsing © 2017 Aaron Grad counter-melody.
The fast fourth section feels related to Shostakovich’s dark sense of humor,
encoreartsseattle.com 43 SEATTLE SYMPHONY DONORS
PRINCIPAL BENEFACTORS PRINCIPAL MUSICIANS CIRCLE The Seattle Symphony acknowledges with The following donors have generously underwritten gratitude the following donors who have made the appearances of principal musicians this season. lifetime commitments of more than $1 million as of November 28, 2016. Sue and Robert Collett William and Janice Etzold I GIVE BECAUSE... 4Culture Muriel Van Housen and Tom McQuaid Dr.* and Mrs. Ellsworth C. Alvord, Jr. Patricia and Jon Rosen Andrew W. Mellon Foundation Anonymous ArtsFund ArtsWA SYMPHONY MUSICIANS CIRCLE Beethoven, A Non Profit Corporation/ Classical KING FM 98.1 The following donors have generously sponsored a Alan Benaroya section musician this season. Sherry and Larry Benaroya “The The Benaroya Family Dr. C. Bansbach Bill & Melinda Gates Foundation Stephen Elop and Susan Johannsen The Boeing Company Michael King and Nancy Neraas C.E. Stuart Charitable Fund Dr. Ryo and Kanori Kubota Charles Simonyi Fund for Arts and Sciences Mr. and Mrs. Richard Moore Seattle The Nakajima Family Leslie and Dale Chihuly The Clowes Fund, Inc. Cookie and Ken Neil Priscilla Bullitt Collins* Gary and Susan Neumann Jane and David R. Davis Melvyn and Rosalind Poll Symphony Delta Air Lines Jane and James Rasmussen Estate of Marjorie Edris Norm and Elisabeth Sandler/The Sandler Foundation Judith A. Fong and Mark Wheeler Seattle Met The Ford Foundation Dave and Amy Fulton Thank you to Judith A. Fong for providing matching is a big William and Melinda Gates funds for this new program. For more information Lyn and Gerald Grinstein about musician sponsorship, please contact Becky Lenore Hanauer Kowals at 206.215.4852. David J. and Shelley Hovind part of my Illsley Ball Nordstrom Foundation INDIVIDUALS Kreielsheimer Foundation The Seattle Symphony gratefully recognizes the The Kresge Foundation following individuals for their generous Annual Fund Marks Family Foundation and Special Event gifts through November 28, 2016. Bruce and Jeanne McNae If you have any questions or would like information life, and Microsoft Corporation about supporting the Seattle Symphony, please visit Microsoft Matching Gifts Program us online at seattlesymphony.org/give or contact M.J. Murdock Charitable Trust Donor Relations at 206.215.4832. National Endowment for the Arts Nesholm Family Foundation was also Thank you for your support. Our donors make it all The Norcliffe Foundation possible! PONCHO James and Sherry Raisbeck Gladys* and Sam* Rubinstein STRADIVARIUS CIRCLE for my late S. Mark Taper Foundation Platinum ($250,000+) Jeff and Lara Sanderson The Benaroya Family 15 Seattle Office of Arts & Culture Leslie and Dale Chihuly ° 15 Seattle Symphony Foundation Judith A. Fong and Mark Wheeler ° 5 Seattle Symphony Women’s Association Marks Family Foundation ° husband.” Leonard and Patricia Shapiro Anonymous (2) Samuel* and Althea* Stroum Dr. Robert Wallace Gold ($100,000 – $249,999) Joan S. Watjen, in memory of Craig M. Watjen Virginia and Bagley* Wright Lenore Hanauer 15 Anonymous (6) Jean-François and Catherine Heitz ° 10 Helen and Max Gurvich Advised Fund *In Memoriam – Jan C. 10 David J. and Shelley Hovind ^ Martin Selig and Catherine Mayer ^ GUEST ARTISTS CIRCLE Eliza and Brian Shelden The following donors have generously underwritten Joan S. Watjen, in memory of Craig M. Watjen 15 the appearances of guest artists this season. Anonymous
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encoreartsseattle.com 45 SEATTLE SYMPHONY DONORS
Dr. and Mrs. Ronald J. Beck 5 Jerald E. Olson 15 Frank and Phyllis Byrdwell ^ Mike and Liz Hilton Janice Berlin Mr. and Mrs. Thomas Olson Mary and Patrick Callan Suzanne Hittman Ann and Bruce Blume Ralph and Marlys Palumbo ^ April Cameron 5 Bob Hoelzen William and Beatrice Booth David F. Peck 15 Karen Cameron Norm Hollingshead 5 Bob and Bobbi Bridge Nancy and Christopher Perks 10 Corinne A. Campbell Bob Holtz and Cricket Morgan 5 Alexandra Brookshire and Bert Green ^ 15 Rosemary Peterson Craig and Jean Campbell 15 Margaret and Marc Horton Claire and Aaron Burnett Hera Phung 5 Elizabeth M. Campbell Carole and Rick Horwitz Butler’s Hole Fund Marcus Phung 5 Wally and Sally Campbell Gretchen and Lyman* Hull 15 Dr. Mark and Laure Carlson 5 Guy* and Nancy Pinkerton 5 Janitta and Bob Carithers Joni Scott and Aedan Humphreys M Trish Carpenter Cary Plotkin and Marie-Therese Brincard Cory Carlson Sara Hurley Cecily Carver Aimme Qiao Carol and John Austenfeld Richard and Roberta Hyman 5 M Jeffrey Christianson Carrie Delaney Rhodes Charitable Trust 5 Joyce and Craig Jackson Robert E. Clapp 5 M Ed and Marjorie Ringness 15 Benjamin Carr Ralph E. Jackson 15 Mr. and Mrs. Ross Comer 10 Richard and Bonnie Robbins Emily Carroll 5 Eric Jacobs Donald and Ann Connolly Nancy M. Robinson 15 Kent and Barbara Chaplin 10 Randy Jahren 5 Jeffrey and Susan Cook 5 Sharon Robinson 5 Michael and Gayle Charlesworth 5 M Mr. and Mrs. Jerry Janacek Patricia Cooke Helen Rodgers 15 Jorge Chavez Megan Hall and James Janning + 5 M T. W. Currie Family 10 Marnie Roozen Mr. James Chesnutt 5 Lawrence Jen Tom DeBoer Annie and Ian Sale Michelle and Abhineet Chowdhary Robert C. Jenkins 5 Lyle Deobald and Jessie Kim-Deobald Thomas and Collette Schick 15 Joshua D. Closson Clyde and Sandra Johnson 5 Dr. Stella Desyatnikova Eckhard Schipull 10 Sam and Karen Coe Rodney J. Johnson Aileen Dong Charles and Maria Schweizer Mr. Peter Cohen and Ms. Bettina Stix Christy Jones and Rob Lilleness Charles Engelke and Laurie White Jo Ann Scott Ellen and Phil Collins 15 Neil and Ciara Jordan Brittni and Larry Estrada ° Jeff and Kim Seely Mr. and Mrs. Frank Conlon Shreya Joseph Andrew Faulhaber 5 Barbara and Richard Shikiar 15 Peter and Lori Constable M Zagloul Kadah 5 Gerald B. Folland 5 Yuka Shimizu The Honorable Dow Constantine and Gretchen Kah 5 Robert Franklin Jon Shirley and Kim Richter Ms. Shirley Carlson Suzanne and Steve Kalish William E. Franklin Mary Snapp and Spencer Frazer Herb and Kathe Cook 5 Peter Kelly Jack Freelander Christopher Snow 5 Richard Cuthbert and Sean and Lisa Kelly 5 Tom and Sandra Gaffney 5 Stella Stamenova Cheryl Redd-Cuthbert Michael and Mary Killien 15 Jane and Richard Gallagher 5 Lorna Stern 15 Russell Daggatt and Ragan and Ed Kim William Gates Sr. and Mimi Gardner Gates Isabel and Herb Stusser 10 Gemma Valdez Daggatt Douglas F. King 15 Martin and Ann Gelfand Mr. and Mrs. C. Rhea Thompson Robert Darling 5 Karol King 5 Nate Glissmeyer and Elizabeth Jennings Betty Lou and Irwin* Treiger 15 Tatiana Davidson 5 Virginia King 5 Fred Goldstein and David Pitt John and Fran Weiss 15 Dr. Bob Day 5 Carolyn and Robert Kitchell Bill and Joy Goodenough 15 Norma Wells 5 Margaret and Lou Dell’Osso Peter and Susan Knutson Catherine B. (Kit) Green 10 Charles Wheeler Brooke Benaroya Dickson Vera Koch Lucia and Jeffrey Hagander 5 Cliff Burrows and Anna White 5 Anthony DiRe Allan and Mary Kollar William Haines 15 Ms. Bethany Winham Dwight and Susan Dively 5 Brian and Peggy Kreger 15 Karin and Frederic Harder Jeff Wood and Diane Summerhays Anne and Bob Doane Dr. and Mrs. Alvin Kwiram 10 Ken and Cathi Hatch ^ Woodworth, Charleson Charitable Fund Everett and Bernie DuBois 10 Eric Lam 5 Ken Hayashi 5 Richard and Barbara Wortley 5 Ken Duncan and Tanya Parish 5 Ron and Carolyn Langford 15 Frederick and Catherine Hayes 15 Carol Wright Jeff Eby and Zart Dombourian-Eby 5 Peter M. Lara 15 Terrill and Jennifer Hendrickson 5 Kay H. Zatine 15 Mr. Scott Eby 5 M J&J Latino O’Connell Gabriel and Raluca Hera Christian and Joyce Zobel 5 Dr. Lewis and Susan Edelheit Dr. Gordon D. LaZerte 5 Harold and Mary Fran Hill 10 Igor Zverev 15 Leo and Marcia Engstrom 5 Gregory and Mary Leach 15 Alice and Paul Hill Anonymous (12) Mr. David Epstein Virginia and Brian Lenker 10 M Candyce Hogan Mary and Geoffrey Evans Don and Carla Lewis 5 Bob and Melinda Hord Musicians Club ($1,000 – $1,999) Dr. and Mrs. R. Blair Evans 10 Erica Lewis and Richard Erickson, Seed Thomas Horsley and Cheri Brennan Abel Family Fund Randi Fatizzi Fund of Greater St Louis Community Walt Ingram, Wright Runstad & Peter Aiau and Susan Ormbrek Al Ferkovich and Foundation 15 Company ° John Akin and Mary Stevens Joyce Houser-Ferkovich Henry Li 5 Margaret and Frank Isernio Eddy and Osvaldo Ancinas Maria Ferrer Murdock James Light 15 Mr. Daniel Kerlee and Carlton and Grace Anderson 5 Jerry and Gunilla Finrow Michael Linenberger and Sallie Dacey 10 Mrs. Carol Wollenberg Richard and Dianne Arensberg Gerard Fischer Mark Linsey and Janis Traver 5 Douglas Kim Dr. Sharon and Vince Augenstein Ashley Myers and Andrew Fitz Gibbon Robert and Marylynn Littauer W. M. Kleinenbroich Larry Harris and Betty Azar 15 Patty Fleischmann Sharon Lott 15 Albert and Elizabeth Kobayashi Michele and Charles Bacon Debra and Dennis Floyd Lovett-Rolfe Family Trust Masato and Koko Koreeda Wael Bahaa-El-Din and Barry and JoAnn Forman Fo-Ching Lu and Andrew Roberts 10 Kathleen Leahy Amira El Bastawissi Paula Fortier Susan and Jeff Lubetkin 5 Kori Loomis Kendall and Sonia Baker 5 Dana A. Frank Bryan Lung 5 10 Ruthann Lorentzen Tracy L. Baker 15 Ms. Janet Freeman-Daily Douglas MacDonald and Lynda Mapes Alison and James Luckman Dr. and Mrs. John Baldwin Ed and Kathy Fries Michael and Barbara Malone 5 Gunilla and Vidur Luthra Dr. and Mrs. Terrence J. Ball 5 Terri and Joseph Gaffney Mary Ann and Ted Mandelkorn 15 5 Mark P. Lutz Joel Barduson Ruth and Bill* Gerberding ^ Mark Litt Family DAF of the Jewish 15 5 Louisa and Scott Malatos Jane and Peter Barrett Janice A. and Robert L. Gerth Federation of Greater Seattle 10 Elliot Margul Patty and Jimmy Barrier James and Carol Gillick ^ Anne and Karl Marlantes 10 Bret Marquardt and Gerald Nelms Sarah and Rich Barton Jeffrey and Martha Golub Marcia Mason 15 M Frank and Judith Marshall Foundation Amie Batson Mary Lee Gowell Charles T. Massie 5 M Ken and Robin Martin ^ Douglas and Maria Bayer 15 Maridee Gregory Erika and Nathan Mattison David Mattson Michael and Stephanie Beers Julie Gulick Florence and Charlie Mayne 10 15 Diane Mayer Carl and Renée Behnke Mr. and Mrs. David Hadley Michael and Rosemary Mayo Brooke and Dre McKinney-Ratliff Dr. Melvin Belding and Dr. Kate Brostoff Bruce Haldane Doug and Joyce McCallum 15 10 Drs. Pamela and Donald Mitchell Judith and Arnold Bendich Mary Stewart Hall John and Gwen McCaw Ryan Mitrovich Geoffrey Bent and Katie Kemezis 5 James and Darlene Halverson Ashley McDougall 5 Gary Moresky Kathy Binder Leslie and Nick Hanauer Diane and Scott McGee M Ms. Mary Ellen Mulder Marilyn Boss Deena C. Hanke Hughes and Kelley McLaughlin 5 15 M Mika Nakamura and Gary Wood Bob and Jane Ann Bradbury 5 Dr. and Mrs. James M. Hanson Karen and Rick McMichael 10 Bruce and Jeannie Nordstrom Herb Bridge and Edie Hilliard Katrina Harris Mary McWilliams 15 Isabella and Lev Novik S. Lori Brown Susan and Tom Harvey Mary Mikkelsen 5 Arwa and Mohammed Obeidat Cy and Kathleen Butler Mary Heckman Ronald Miller and Murl Barker 5 5 Rena and Kevin O’Brien Alan and Ciara Byars Dr. and Mrs. Robert M. Hegstrom Bill and Shirley* Miner
46 SEATTLESYMPHONY.ORG Photo: Brandon Patoc Brandon Photo:
“As a little girl I got trapped in the beautiful melodies of ‘classical’ music, but Ludovic’s choices of new music encourage me to listen more deeply, discovering new and exciting sounds in the music. This is what ‘Listen Boldly’ means to me, and I give because I want others to revel in this wonderful, mind-opening world of music.” – Maria, Symphony supporter, subscriber, usher and lifelong music-lover
JOIN MARIA BY MAKING YOUR GIFT FOR SYMPHONIC MUSIC TODAY! Programs like the one you are about to enjoy are only possible through the support of generous music-lovers like you.
SEATTLESYMPHONY.ORG/GIVE | 206.215.4832 SEATTLE SYMPHONY DONORS SEATTLE SYMPHONY DONORS
Laurie Minsk and Jerry Dunietz Jill Singh HONORARIUM GIFTS Jonas Flueckiger, by Chie Mitsui M Randip Singh Gifts to the Seattle Symphony are a Shon Schmidt Charles Montange and Douglas Smith and Stephanie Ellis-Smith wonderful way to celebrate a birthday, Kathleen Patterson 15 Joan Smith honor a friend or note an anniversary. Steve Frank’s 75th Birthday, by Alex and Nayla Morcos Stephen and Susan Smith In addition to recognition in the Encore Patricia and Jon Rosen Mary and Alan Morgan Harry Snyder program, your honoree will receive a card Christine B. Moss 15 Kathleen and Robert Spitzer from the Symphony acknowledging your Janice A. Gerth, Donald and Shirley Mottaz 5 Doug and Katie Sprugel 5 thoughtful gift. Robert Gerth Kevin Murphy 15 Donald and Sharalyn Stabbert Mr. and Mrs. J. P. Naughton 15 Dr. and Mrs. Robert Stagman 15 Gifts were made to the Seattle Nancy Page Griffin, by Paul Neal and Steven Hamilton 5 M Craig and Sheila Sternberg Symphony in recognition of those listed Mina Miller and David Sabritt Kirsten Nesholm 5 Steve and Sandy Hill Family Fund at the below between November 15, 2015 and Michael Schick and Katherine Hanson Marilyn Newland 5 Seattle Foundation ^ 15 November 28, 2016. Please contact Eric Noreen and Suzi Hill Diane Stevens 5 Donor Relations at 206.215.4832 or Augustin Hadelich, by Ken and Pearl Noreen Ms. Heather L. Stotz 5 [email protected] if you Norm Hollingshead Sharon L. Norris Hope and Richard Stroble would like to recognize someone in a Mary Odermat Audrey and Jim* Stubner 15 future edition of Encore. Patty Hall, by Tim O’Keefe Victoria Sutter 5 Michael and Kelly Hershey Mrs. Jackie A. O’Neil 5 Lina and Lino Tagliapietra Jennifer Adair, by Phillip O’Reilly David Tan and Sherilyn Anderson-Tan Michelle Hamilton Lenore Hanauer, by Leo Ortiz and Adriana Aguirre Mabel and Jason Tang Penelope Burke Thomas and Cynthia Ostermann 10 Bob and Mimi Terwilliger 10 John Adams, by Richard and Peggy Ostrander Meryl and Donald* Thulean 15 Mr. Roy Hughes Harald and Jenny Hille, friends of Meg Owen 5 Barbara Tober Ludovic Morlot, by Dena and Tom Owens Vahe Torossian Afman, by Margaret and Andrew Gordon David and Gina Pankowski Kirsten and Bayan Towfiq ° 5 Varun Chhabra and Natasha Gupta Richard and Sally Parks Elaine Tsai Glen and Ann Hiner, by PAS Financial Planning Lorna Tumwebaze Claire Angel, by Eugene Leibowitz Allan and Jane Paulson 15 Dolores Uhlman 15 Lyn and Gerald Grinstein Perspectives of New Music Sami Uotila and Tuula Rytila Mikal and Lynn Thomsen Leila Josefowicz, by Jasen Peterman Manijeh Vail 5 Andrea Wenet Norm Hollingshead Lisa Peters and James Hattori Gretchen Van Meter 15 Thomas Pfenning Johanna P. VanStempvoort 15 Jared Baeten and Mark Ruffo, by Karneia, by Stewart Phelps Mary Lou and Dirk van Woerden Eugene Brown Allen R. Schwerer Don and Sue Phillips Karoline Vass Stephen Phinny Tara and John Verburg Becky Benaroya, by Sherri King, by Valerie and Stanley Piha Donald J. Verfurth Harold Matzner Vince Koester Prairie Foundation Doug* and Maggie Walker 5 Beverly Schoenfeld Lori and Bill Price Ralph and Virginia Wedgwood 15 Zhenlun Li, by Mrs. Eileen Pratt Pringle 15 Ed and Pat Werner 5 The Cello Section, Esther Wu Llewelyn G. and Joan Ashby Pritchard ^ 15 Greg Wetzel 5 Betty Graham Harry* and Ann Pryde Judith A. Whetzel 5 Dr. Pierre and Mrs. Felice Loebel, by Ann Ramsay-Jenkins Roger and June Whitson M Stella Chernyak, by Marilyn Layton Paul and Bonnie Ramsey Mitch Wilk David Gaglione Dr. and Mrs. Larry Martin Mary C. Ransdell and Keith Wong Michael Winter Robert F. Ranzenbach 10 Mr. Eric Wong 5 Leslie Chihuly, by Virginia Hunt Luce, by Reverend Kerry and Robin Reese 10 Jessie and David Woolley-Wilson The Sam and Peggy Grossman Family Tom Luce Jean A. Rhodes 5 Elizabeth and Troy Wormsbecker Foundation Fred Richard 15 Jerry and Nancy Worsham 10 Norm Hollingshead Hayley Lyons, by John Richardson II 5 Talia Silveri Wright Dr. Pierre and Mrs. Felice Loebel Sue Lyons Deborah and Andrew Rimkus 5 Esther Wu Harold Matzner Melissa Rivello Lee and Barbara Yates 15 The M. C. Pigott Family Reid and Marilyn Morgan, by Ms. Jean C. Robinson 5 Mrs. Sarah Yeager 5 Matt Stevenson Mr. and Mrs. Bill Bonnett Mike Robinson Maeng-Soon Yu 10 Barbara Tober Jack Rodman and Koh Shimizu Robert and Eileen Zube 5 Su-Mei Yu Ludovic Morlot and the Seattle Joseph L. Romano Anonymous (21) Anonymous Symphony, by Stan and Michele Rosen Norm Hollingshead Dr. Len and Gretchen Jane Rosoff 5 years of consecutive giving Marianne Cole, by Martine and Dan Drackett Michelle and Jerry Rubin 10 10 years of consecutive giving Mitzi Cieslak Anonymous Don and Toni Rupchock 15 15 15 years or more of consecutive giving David Sabee and Patricia Isacson Sabee M Monthly Sustaining Donor Rosalie Contreras, by Nu.Mu.Zu, by Sarah and Shahram Salemy Musician Robert Haeger Scott Siken Matthew Salisbury o Board Member Sara Delano Redmond Fund ^ Lifetime Director Joseph Crnko and the Seattle Symphony Llewelyn Pritchard, by Kate and Matthew Scher Æ Staff Chorale, by Mr. and Mrs. Thomas Olson Dr. and Mrs. Jason Schneier 5 * In Memoriam Norm Hollingshead Mr. and Mrs. Joseph Schocken Sandra and James Taylor The Oboe Section, by Judith Schoenecker and To our entire donor family, thank you for Mark Linsey and Janis Traven Christopher L. Myers 5 your support. You make our mission and Samantha DeLuna, by Susan Schroeter-Stokes and music a reality. Megan Hall and James Janning Sue and Tom Raschella’s Robert Stokes 5 50th Wedding Anniversary, by Nancy and James Schultz + 5 Did you see an error? Help us update Will Dixon and Jay Picard, by Bob and Clodagh Ash Janet Sears 10 our records by contacting David Gaglione Jennifer Connors Janet and Thomas Seery 10 [email protected] Jeffrey Phillippe Tanya and Gerry Seligman 5 or 206.215.4832. Thank you! Zart Dombourian-Eby, by John Phillippe Anne Shinoda-Mettler Ms. Marilyn E. Garner Charles Shipley 15 Jon Rosen, by Robert and Anita Shoup Emily Evans, by Joe and Linda Berkson William Shuman Ellen Hope Dr. Charles Simrell and Deborah Giles 10 Mika and Jenny Sinanan 5 Dr. Daniel Feller, by Jeffrey Girardin
48 SEATTLESYMPHONY.ORG SEATTLE SYMPHONY DONORS
Bernice Rind, by Bev Bright, by Shirley H. Fuller, by Herman Sarkowsky, by Bob and Clodagh Ash Rita Gray Marise and Randy Person Leslie and Dale Chihuly Howard Moss and Pauline Shapiro David and Dorothy Fluke David and Julie Peha Frederic Chopin, by William Gerberding, by Llewelyn G. and Joan Ashby Pritchard Kay Zatine Xiaoxia Zhou Leslie and Dale Chihuly Mr. and Mrs. David L. Fluke Walter Schoenfeld, by Michael Schmitt, by Lydia Christofides, by Dr. Kennan H. Hollingsworth Leslie and Dale Chihuly Barbara Schlotfeldt Gerald B. Folland Llewelyn G. and Joan Ashby Pritchard Allen Senear, by Seattle Symphony Volunteers, by Dr. Alexander Clowes, by Booker T. Gibson, by Reid and Marilyn Morgan Ken Abramson and Helen Santibanez Charles Alpers and Ingrid Peterson Patricia and Jon Rosen Bob and Clodagh Ash Julia Shaw, by Richard and Barbara Shikiar, by Dr. and Mrs. Forrest Bennett Billie Grande, by Bob and Clodagh Ash Sandra Smith Mardi and Frank Bowles Patricia and Jim Davis Sue and Tom Raschella Butler’s Hole Fund Peggy Spencer, by Barbara A. Cahill Allan Granquist, by Amy Sidell, by Nancy McConnell Drs. Lihua Chen and Yihua Xiong Steven Lundholm John and Laurel Nesholm Leslie and Dale Chihuly Sue and Tom Raschella Betsy and Gary Spiess, by Dr. Susan Detweiler Grandma Bosma, by Ling Chinn Dan and Nancy Evans Andrew Emory Nancy Simek, by David and Dorothy Fluke William and Janice Etzold Tuning Up!, by Dr. Kennan H. Hollingsworth Bertram H. Hambleton, by Roy L. Hughes Becky Kowals Ginger Campopiano Sam and Althea Stroum, by John and Nancy Lightbody Jill Palmer Leslie and Dale Chihuly [untitled], by Jack and Sandy McCullough Virginia Park Norm Hollingshead C. Gardner McFall and Peter Olberg James Stubner, by John and Laurel Nesholm Bill Hirschfeld, by Bob and Clodagh Ash Karla Waterman, by Sheila B. Noonan and Peter M. Hartley Marjorie J. Levar Bucknell Stehlik Sato & Stubner, LLP Kay H. Zatine Laird Norton Wealth Management Phyllis Stern Leslie and Dale Chihuly Carolyn and Michael Patterson Sue and Robert Collett Kathleen Wright and Martin Greene, by Susan Pazina Joseph Hylland, by Doug and Gail Creighton Joel Paisner Melvyn and Rosalind Poll Rebecca Benson Cousins Pam, Tim, Terry and Julie, and Patricia and Jon Rosen Sue and Tom Raschella Uncle Ron Collins Patricia and Jon Rosen David Howe, by Carol B. Goddard Julie Wotruba, by Dr. and Mrs. Gilbert J. Roth Mary Howe Robert and Rhoda Jensen David Gaglione The Seattle Commissioning Club Jane Qualia Ken Kataoka Eve Gordon Anderson and Mark John King MEMORIAL GIFTS Anderson Suzie Johnston, by Richard* and Beverly Luce Roy and Laura Lundgren Edgar and Linda Marcuse Natalie Malin Gifts were made to the Seattle Dr. Alan and Mary Morgan Doug and Joyce McCallum Symphony to remember those listed Patricia Tall-Takacs and Gary Takacs Milton Katims, by Dustin Miller below between November 15, 2015 and Ken Shapero and Dianne Aprile Pamela Katims Steele Reid and Marilyn Morgan November 28, 2016. For information Doug and Katie Sprugel Carole Narita on remembering a friend or loved one Craig and Sheila Sternberg Yun-Kuk Kim, by Kenneth and Catherine Narita, Kimberly through a memorial gift, please contact Linda Stevens Douglas Kim and Andy Absher, Karen and Steve Donor Relations at 206.215.4832 or Neal B. Abraham and Donna L. Wiley Shotts, and Kristen Narita [email protected]. Anonymous Marcy Krueger, by Leona Narita Amanda Budde-Sung Ruby Narita Jane and Don Abel, by , by Llewelyn G. and Joan Ashby Pritchard The Abel Family Fund Kent Coleman Jan Coleman Laurence Lang, by Sue and Tom Raschella
Rosalie Lang Kathleen Sesnon David Anderson, by , by Patricia Tall-Takacs and Gary Takacs Julie L. Antle-Anderson S. Patricia Cook Capt. Charles Cook Carolyn and Leroy Lewis, by The Urner Family Leslie and Dale Chihuly John Walcott Arval, by , by Mary and Findlay Wallace Dr. L. Newell-Morris Lucy J. Ding Paula Ding Fridolf N. Lundholm, by Wiatr & Associates Steven Lundholm Marjorie Winter Wanda Beachell, by , by Richard and Barbara Wortley E. A. Beachell Jackie Davenport Nadine Miyahara Ginny Meisenbach, by Kay Zatine Leslie and Dale Chihuly Bill Beery, by by Don Thulean, by Madeline Beery Lucy J. Ding, Paula Ding William Joseph Nazzaro, by Todd Gordon and Susan Feder Mary Nazzaro Reid and Marilyn Morgan Jack Benaroya, by , by John and Laurel Nesholm Leslie and Dale Chihuly Martha Donworth Christine Marshall Merlyn A. Nellist, by Sheila B. Noonan and Peter M. Hartley Donna Nellist Llewelyn G. and Joan Ashby Pritchard Rose and Richard Bender, by , by Sue and Tom Raschella Alan Cordova Doris Dwyer Jeffrey W. Smith John J. and Gertrude M. Rangstrom, by Jennifer Schwartz Jon Fourre Donald Benedict, by , by Katie Tyson, by Dr. Charles Higbee Eugene Fisher Gayden F. Carruth David Reibstein, by Elizabeth Faubell Cascade Designs, Inc. Andrew Bertino-Reibstein Gertrude Bergseth, by John L. Voorhees Constance Trowbridge Wesley Fisk, by Sam and Gladys Rubinstein, by Renate Stage Leslie and Dale Chihuly B. K. Walton, by Beatrice and Arlene Berlin, by Penelope Yonge Janice Berlin Donald Isle Foster, by Carole Sanford, by Karen Laband Horizon House Supported Living Brian Weiss, by Donald W. Bidwell, MD, by Sheila B. Noonan and Peter M. Hartley Sue Eriksen Sharon Bidwell Dina Jacobson Beulah Frankel, by Lars Sorenson Grandma Bosma, by Ginny Gensler Andrew Emory
49 SEATTLESYMPHONY.ORG encoreartsseattle.com 49 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 DONORS Endowment Fund since its inception. The following list is current as of November 28, 2016. For information on endowed gifts and naming opportunities in Benaroya Hall, please contact Becky Kowals at 206.215.4852 or [email protected].
Janice T. Whittaker, by Jody Friday $5 MILLION + Sue and Robert Collett Frances O. Delaney* The Benaroya Family John and Carmen* Delo Richard Yarington, by Charles Simonyi Fund for Arts and Sciences Estate of Lenore Ward Forbes Yoko Barnett Anonymous (1) Estate of George A. Franz Robert E. Clapp $1,000,000 – $4,999,999 Jean Gardner Barbara McHarg Estate of Mr. and Mrs. Irvin Gattiker Cheryl Jefford Leslie and Dale Chihuly Anne Gould Hauberg* Charles and Joan Johnson The Clowes Fund, Inc. Richard and Elizabeth Hedreen Margaret Kiyohara Priscilla Bullitt Collins* Estate of William K. and MJo Judith A. Fong Edith A. Holmes The Ford Foundation John Graham Foundation Dave and Amy Fulton ESTATE GIFTS Mr. and Mrs. Stanley P. Jones Kreielsheimer Foundation We gratefully remember the following individuals for Estate of Betty L. Kupersmith Marks Family Foundation their generosity and forethought, and for including John and Cookie* Laughlin Estate of Gladys and Sam Rubinstein E. Thomas McFarlan the Seattle Symphony in their will, trust or beneficiary Leonard and Patricia Shapiro Estate of Alice M. Muench designation. These legacy gifts provide vital support Samuel* and Althea* Stroum Nesholm Family Foundation for the Symphony now and for future generations. Dr. Robert Wallace (Estate gifts since September 1, 2014.) Estate of Opal J. Orr $500,000 – $999,999 M. C. Pigott Family PONCHO Barbara and Lucile Calef Alex Walker III Charitable Lead Trust Estate of Mrs. Marietta Priebe Robert E. and Jeanne Campbell Mrs. John M. Fluke, Sr.* Seattle Symphony Volunteers Carmen Delo Douglas F. King Mr. and Mrs. Paul R. Smith Sherry Fisher Estate of Ann W. Lawrence Estate of Frankie L. Wakefield Jane B. Folkrod The Norcliffe Foundation Estate of Marion J. Waller Lenore Ward Forbes Estate of Mark Charles Paben Washington Mutual Marion O. Garrison James D. and Sherry L. Raisbeck Foundation Anonymous (1) Elizabeth C. Giblin Joan S. Watjen, in memory of Craig M. Watjen Carol Hahn-Oliver $25,000 – $49,999 Harriet C. Barrett Trust $100,000 – $499,999 Edward and Pam Avedisian Allan and Nenette Harvey Estate of Glenn H. Anderson Estate of Bernice Baker Yveline Harvey Andrew W. Mellon Foundation Estate of Ruth E. Burgess Helen and Max Gurvich Bob and Clodagh Ash Estate of Barbara and Lucile Calef Betty L. Kupersmith Alan Benaroya Mrs. Maxwell Carlson E. Marian Lackovich Estate of C. Keith Birkenfeld Alberta Corkery* Anna L. Lawrence Mrs. Rie Bloomfield* Norma Durst* Arlyne Loacker The Boeing Company Estate of Margret L. Dutton C.E. Stuart Charitable Fund Olga M. McEwing Estate of Floreen Eastman Dr. Alexander Clowes* and Peter J. McTavish Hugh S. Ferguson* Dr. Susan Detweiler Norman D. Miller Mrs. Paul Friedlander* Richard* and Bridget Cooley Nuckols-Keefe Family Foundation Adele Golub Mildred King Dunn Beatrice Olson Patty Hall E. K. and Lillian F. Bishop Foundation Carl A. Rotter Thomas P. Harville Estate of Clairmont L. and John C. Rottler Harold Heath* Evelyn Egtvedt Allen E. Senear George Heidorn and Margaret Rothschild* Estate of Ruth S. Ellerbeck Amy Sidell Phyllis and Bob Henigson Senator and Mrs. Daniel J. Evans Phillip Soth Michael and Jeannie Herr Fluke Capital Management Morton Stelling Charles E. Higbee, MD and Estate of Dr. Eloise R. Giblett Ida L. Warren Donald D. Benedict Agnes Gund Mr. and Mrs. L. R. Hornbeck Helen* and Max* Gurvich Sonia Johnson* Estate of Mrs. James F. Hodges The Keith and Kathleen Hallman Fund Estate of Ruth H. Hoffman David and Karen Kratter Estate of Virginia Iverson Estate of Marlin Dale Lehrman Estate of Peggy Anne Jacobsson Estate of Coe and Dorothy Malone Robert C. Jenkins Estate of Jack W. McCoy Estate of Charlotte M. Malone Estate of Robert B. McNett Bruce and Jolene McCaw Estate of Peter J. McTavish Bruce and Jeanne McNae Estate of Shirley Callison Miner Microsoft Corporation PACCAR Foundation National Endowment for the Arts Estate of Elizabeth Parke Northwest Foundation Mr. and Mrs. W. H. Purdy Peach Foundation Keith and Patricia Riffle Estate of Elsbeth Pfeiffer Rita* and Herb* Rosen and Estate of Elizabeth Richards the Rosen Family Jon and Judy Runstad Jerry and Jody Schwarz Estate of Joanne M. Schumacher Seafirst Bank Weyerhaeuser Company Seattle Symphony Women’s Association The William Randolph Hearst Security Pacific Bank Foundations Patricia Tall-Takacs and Gary Takacs Estate of Helen L. Yeakel U S WEST Communications Estate of Victoria Zablocki Estate of Dr. and Mrs. Wade Volwiler Anonymous (3) Estate of Marion G. Weinthal $50,000 – $99,999 Estate of Ethel Wood Anonymous (2) Dr.* and Mrs. Ellsworth C. Alvord, Jr. Estate of Mrs. Louis Brechemin * In Memoriam Estate of Edward S. Brignall
50 SEATTLESYMPHONY.ORG MUSICAL LEGACY SOCIETY
The Musical Legacy Society honors those who have remembered the Seattle Symphony with a future gift through their estate or retirement plan. Legacy donors ensure a vibrant future for the Seattle Symphony, helping the Orchestra sustain its exceptional artistry and its commitment to making live symphonic music accessible to youth and the broader community. To learn more about the Musical Legacy Society, or to let us know you have already remembered the Symphony in your long-term plans, please contact Director of Major Gifts and Planned Giving Becky Kowals at 206.215.4852 or [email protected]. The following list is current as of November 28, 2016.
Charles M. and Barbara Clanton Ackerman Marjorie J. Levar Joan P. Algarin Jeanette M. Lowen* DOWNLOAD Richard Andler and Carole Rush Thomas and Virginia Hunt Luce Ron Armstrong Ted and Joan Lundberg THE LISTEN Elma Arndt Judsen Marquardt and Constance Niva Bob and Clodagh Ash Ian and Cilla Marriott Susan A. Austin Doug and Joyce McCallum BOLDLY APP! Rosalee Ball Jean E. McTavish David W. Barker William C. Messecar Donna M. Barnes Jerry Meyer and Nina Zingale Carol Batchelder Charles N. Miller Janet P. Beckmann Elizabeth J. Miller Alan Benaroya Mrs. Roger N. Miller Rebecca Benaroya Murl G. Barker and Ronald E. Miller Donald/Sharon Bidwell Living Trust Reid and Marilyn Morgan Rosemary and Kent Brauninger George Muldrow Sylvia and Steve Burges Marr and Nancy Mullen Dr. Simpson* and Dr. Margaret Burke Isa Nelson Sue and Robert Collett Gina W. Olson Dr. Marshall Corson and Mrs. Lauren Riker Sarah M. Ovens Betsey Curran and Jonathan King Donald and Joyce Paradine Frank and Dolores Dean Dick and Joyce Paul Robin Dearling and Gary Ackerman Jane and Allan Paulson Lorraine Del Prado and Thomas Donohue Stuart N. Plumb John Delo Roger Presley and Leonard Pezzano Dr. Susan Detweiler and Dr. Alexander Clowes* Mrs. Eileen Pratt Pringle Fred and Adele Drummond Mr. and Mrs. W. H. Purdy Mildred King Dunn James and Sherry Raisbeck Sandra W. Dyer J. Stephen and Alice Reid Ann R. Eddy Bernice Mossafer Rind David and Dorothy Fluke Bill* and Charlene Roberts Gerald B. Folland Junius Rochester Judith A. Fong Jan Rogers Jack and Jan Forrest Mary Ann Sage Russell and Nancy Fosmire Thomas H. Schacht Ernest and Elizabeth Scott Frankenberg Judith Schoenecker and Christopher L. Myers Cynthia L. Gallagher Annie and Leroy Searle Jane and Richard Gallagher Virginia and Allen* Senear Jean Gardner Leonard and Patricia Shapiro William and Cheryl Geffon Jan and Peter Shapiro Natalie Gendler John F. and Julia P.* Shaw Carol B. Goddard Barbara and Richard Shikiar Frances M. Golding Valerie Newman Sils Jeffrey Norman Golub Evelyn Simpson Dr. and Mrs. Ulf and Inger Goranson Betty J. Smith Betty Graham Katherine K. Sodergren Catherine B. Green Althea C. and Orin H.* Soest Seattle Symphony Dr. Martin L. Greene Sonia Spear Roger J.* and Carol* Hahn-Oliver Morton A. Stelling* James and Darlene Halverson Diane Stevens is now offering Barbara Hannah Patricia Tall-Takacs and Gary Takacs Harriet Harburn Gayle and Jack Thompson SEAT UPGRADES Ken and Cathi Hatch Art and Louise Torgerson Michele and Dan Heidt Betty Lou and Irwin* Treiger NEW APP Ralph and Gail Hendrickson Muriel Van Housen for select concerts Deena J. Henkins Sharon Van Valin Charles E. Higbee, MD Jean Baur Viereck Harold and Mary Frances Hill Dr. Robert Wallace through the Listen Frank and Katie Holland Nicholas A. Walls FEATURES Dr. Kennan H. Hollingsworth Judith Warshal and Wade Sowers Chuck and Pat Holmes Douglas Weisfield Boldly mobile app. Richard and Roberta Hyman James and Janet Weisman Janet Aldrich Jacobs John and Fran Weiss Robert C. Jenkins Dorothy E. Wendler Dr. Barbara Johnston Gerald W. and Elaine* Millard West Norman J. Johnston* and L. Jane Hastings Johnston Selena and Steve Wilson Atul R. Kanagat Ronald and Carolyn Woodard Don and Joyce Kindred Arlene A. Wright Dell King Janet E. Wright DOWNLOAD: Douglas F. King Rick and Debbie Zajicek Stephen and Barbara Kratz Anonymous (44) Frances J. Kwapil * In Memoriam M. LaHaise Ned Laird Paul Leach and Susan Winokur Lu Leslan SEATTLESYMPHONY.ORG/APP
encoreartsseattle.com 51 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 28, 2016. Thank you for your support — our donors make it all possible!
$500,000+
Seattle Symphony Foundation
$100,000 – $499,999
Seattle Symphony Volunteers ◊
$50,000 – $99,999 $10,000 – $14,999 GE Foundation DreamBox Learning
Classical KING FM 98.1 ◊ Acucela Inc. Glazer’s Camera † DSquared † Google Inc. † Bill & Melinda Gates Foundation Jean K. Lafromboise Foundation Eaton Vance John Graham Foundation Matching Gifts KeyBank Educational Legacy Fund KEXP † Coca-Cola Company Matching Gifts NAREIG Four Seasons Hotel † Laird Norton Wealth Management Foster Pepper PLLC Peg and Rick Young Foundation Fox’s Seattle † Microsoft Corporation Fran’s Chocolates ◊ RBC Foundation Garden Conservancy Microsoft Matching Gifts Holland America Line ◊ Russell Family Foundation Hard Rock Cafe Seattle † Nesholm Family Foundation Lakeside Industries Sheraton Seattle Hotel † Inn at the Market † Seattle Met Magazine † Milliman † Skanska USA KAN | Orchids Flowers † Norman Archibald Foundation Sullivan’s Steakhouse † O Wines † $25,000 – $49,999 Peoples Bank Vitus Group Pacific Coast Feather Co. Perkins Coie LLP Ann and Gordon Getty Foundation The Westin Hotel, Seattle † Sam and Peggy Grossman Family RBC Wealth Management Foundation Bill & Melinda Gates Foundation Rosanna, Inc. † Steinway & Sons Seattle/Bellevue ◊ Boeing Matching Gift Program $3,000 – $4,999 Russell Investments Talking Rain † CTI BioPharma Corp. Amphion Foundation U.S. Bank Foundation Treveri Cellars † Classic Pianos ◊ The Capital Grille † Weill Music Institute † Tulalip Tribes Charitable Fund Clowes Fund, Inc. GE Foundation Matching Gifts Wild Ginger Restaurant † UBS Financial Services Inc. Encore Media Group † Genworth Foundation Wilson Sonsini Goodrich Anonymous Google Matching Gifts Garvey Schubert Barer † & Rosati Foundation J.P. Morgan Chase & Co. IBM International Foundation $5,000 – $9,999 Nordstrom Music4Life Seattle Cancer Care Alliance AETNA Thurston Charitable Foundation † In-Kind Support Sheri and Les Biller Family Foundation Apex Foundation Touchstone Group at Morgan Stanley ◊ Financial and In-Kind Support Wells Fargo Private Bank Bank of America Wyman Youth Trust Bellevue Children’s Academy $15,000 – $24,999 The Benaroya Company $1,000 – $2,999 Bessemer Trust Aaron Copland Fund For Music Acción Cultural Espagñola Brown Bear Car Wash Ann and Gordon Getty Foundation and Alfred & Tillie Shemanski Trust Fund the League of American Orchestras Chihuly Garden + Glass BNY Mellon Chihuly Studio † Citi Community Capital Brandon Patoc Photography † Crimson Wine Group ◊ Davis Wright Tremaine Chihuly Studio Elizabeth McGraw Foundation Dover Corporation CityBldr D.V. & Ida McEachern Charitable Trust Consulate General of the EY Republic of Poland
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.
52 SEATTLESYMPHONY.ORG Business, meet Beethoven.
Encore Media Group connects businesses and brands to the best of arts & culture in Seattle and the Bay Area. We’re proud to have published programs with the Seattle Symphony for 35 years. From fashion and finance to dining and diamonds, smart business owners know Encore is the best way to get their brand in the spotlight.
To learn what Encore can do for your business, visit encoremediagroup.com. SEATTLE SYMPHONY YOUR GUIDE TO THE SEATTLE SYMPHONY SPECIAL EVENTS SPONSORS & COMMITTEES HOW TO ORDER: HOW TO GIVE: Special Events provide significant funding each season to the Seattle Symphony. We gratefully recognize our TICKET OFFICE: The concert you’re about to enjoy is possible because of donations made by generous presenting sponsors and committees who make these The Seattle Symphony Ticket Office is located events possible. Individuals who support the events music-lovers like you. at Third Ave. & Union St., downtown Seattle. below are included among the Individual Donors listings. Likewise, our corporate and foundation HOURS: Mon–Fri, 10am–6pm; Sat, 1–6pm; We invite you to join the caring community of partners are recognized for their support in the and two hours prior to performances and individuals, companies and foundations who bring Corporate & Foundation Support listings. For more through intermission. outstanding symphonic music to the community. information about Seattle Symphony events, please visit seattlesymphony.org/give/special-events. PHONE: PHONE: 206.215.4747 or 1.866.833.4747 206.215.4832 OPENING NIGHT GALA, SEPTEMBER 17, 2016 Honoring William Gates Sr. and Mimi Gardner Gates ONLINE: seattlesymphony.org. ONLINE: GALA SPONSOR seattlesymphony.org/give JP Morgan Chase & Co. GROUP SALES: GUEST ARTIST SPONSOR 206.215.4818 or MAILING ADDRESS: Nordstrom [email protected]. P.O. Box 21906, Seattle, WA 98111-3906 CO-CHAIRS MAILING ADDRESS: Renée Brisbois P.O. Box 2108, Seattle, WA 98111-2108 Nader Kabbani Betty Tong
COMMITTEE Rosanna Bowles Terry Hecker SYMPHONICA, THE SYMPHONY STORE: COUGH DROPS: Cough drops are available Meredith Broderick Hisayo Nakajima Located in The Boeing Company Gallery, Symphonica is from ushers. Leslie Jackson Chihuly Paul Rafanelli open weekdays from 11am–2pm and 90 minutes prior to Linda Cole Jon Rosen SERVICES FOR PATRONS WITH DISABILITIES: all Seattle Symphony performances through intermission. Christine Coté-Wissmann Christine Suignard Benaroya Hall is barrier-free and meets or exceeds all Kathy Fahlman Dewalt Kirsten Towfiq PARKING: Prepaid parking may be purchased criteria established by the Americans with Disabilities online or through the Ticket Office. Act (ADA). Wheelchair locations and seating for those with disabilities are available. Those with oxygen HOLIDAY MUSICAL SALUTE, DECEMBER 6, 2016 COAT CHECK: The complimentary coat check tanks are asked to please switch to continuous flow. is located in The Boeing Company Gallery. CO-CHAIRS Requests for accommodations should be made when Rebecca Layman-Amato LATE SEATING: Late-arriving patrons will be seated purchasing tickets. For a full range of accommodations, Katrina Russell at appropriate pauses in the performance, and are please visit our website at seattlesymphony.org. invited to listen to and watch performances on a monitor COMMITTEE SERVICES FOR HARD-OF-HEARING PATRONS: located in the Samuel & Althea Stroum Grand Lobby. Michelle Codd Tiffany Moss An infrared hearing system is available for patrons Roberta Downey Rena O’Brien CAMERAS, CELL PHONES & RECORDERS: who are hard of hearing. Headsets are available Kathleen Mitrovich Jill Singh The use of cameras or audio-recording equipment at no charge on a first-come, first-served basis Ghizlane Morlot Leslie Whyte is strictly prohibited. Patrons are asked to turn off all in The Boeing Company Gallery coat check and personal electronic devices prior to the performance. at the Head Usher stations in both lobbies. TEN GRANDS, MAY 14, 2016 LOST AND FOUND: Please contact the Head ADMISSION OF CHILDREN: Children under the age of Kathy Fahlman Dewalt Usher immediately following the performance or 5 will not be admitted to Seattle Symphony performances Co-Founder and Executive Director call Benaroya Hall security at 206.215.4715. except for specific age-appropriate children’s concerts. COMMITTEE EMERGENCY PHONE NUMBER: Please leave the BENAROYA HALL: Excellent dates are available for Rosanna Bowles Ghizlane Morlot appropriate phone number, listed below, and your exact those wishing to plan an event in the S. Mark Taper Cheri Brennan Carla Nichols seat location (aisle, section, row and seat number) with Foundation Auditorium, the Illsley Ball Nordstrom Tom Horsley Stephanie White your sitter or service so we may easily locate you in Recital Hall, the Samuel & Althea Stroum Grand Judith Fong Jessie Woolley-Wilson the event of an emergency: S. Mark Taper Foundation Lobby and the Norcliffe Founders Room. Nader Kabbani Barbara Wortley Auditorium, 206.215.4825; Illsley Ball Nordstrom Recital Visit seattlesymphony.org/benaroyahall Ben Klinger Hall, 206.215.4776. for more information. CLUB LUDO, JUNE 9, 2017
CO-CHAIRS Ryan Mitrovich DINING AT BENAROYA HALL Tiffany Moss
Powered by Tuxedos and Tennis Shoes Catering and Events COMMITTEE Eric Berlinberg MUSE, IN THE NORCLIFFE FOUNDERS ROOM AT BENAROYA HALL: Enjoy pre-concert dining at Muse, just a few Brittany Boulding short steps from your seat. Muse blends the elegance of downtown dining with the casual comfort of the nearby Pike Place Samantha DeLuna Market, offering delicious, inventive menus with the best local and seasonal produce available. Open to ALL ticket holders Eric Jacobs two hours prior to most Seattle Symphony performances and select non-Symphony performances. Reservations are Jason Perkizas encouraged, but walk-ins are also welcome. To make a reservation, please visit opentable.com or call 206.336.6699. Talia Silveri Saul Spady DAVIDS & CO.: Join us for a bite at Davids & Co., a cafe in The Boeing Company Gallery at Benaroya Hall. Featuring fresh takes on simple classics, Davids & Co. offers the perfect spot to grab a quick weekday lunch or a casual meal before a show. Open weekdays from 11am–2pm and two hours prior to most performances in the S. Mark Taper Foundation Auditorium.
LOBBY BAR SERVICE: Food and beverage bars are located in the Samuel & Althea Stroum Grand Lobby. The lobby bars open 75 minutes prior to Seattle Symphony performances and during intermission. Pre-order at the lobby bars before the performance to avoid waiting in line at intermission.
54 SEATTLESYMPHONY.ORG THE LIS(Z)T SEEN & HEARD @ THE SEATTLE SYMPHONY seattlesymphony.org/liszt
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SEATTLE SYMPHONY @ MICROSOFT On October 21, 2016 a quartet of Seattle Symphony musicians The recital featured Seattle Symphony musicians Stephen visited Microsoft in Redmond for a chamber music concert. Bryant, violin; and Roberta Hansen Downey, cello; along with The performance was presented in recognition of Microsoft’s guest musicians Adrianna Hulscher, violin; and Sue Jane longstanding partnership with the Symphony and generous Bryant, viola; performing pieces by Beethoven, Bernstein support from Microsoft employees. and Bachmann. The afternoon opened with a welcome by Jack Freelander The Symphony thanks Microsoft and Microsoft employees of Microsoft, followed by remarks by Seattle Symphony Vice for more than 20 years of generous support, sharing the President of Development Jane Hargraft about the strong joy of symphonic music in Seattle and beyond. Special thanks relationship between the Symphony and Microsoft, and the to all those who attended the on-campus event for the warm valuable impact their partnership has on the broader Puget welcome and delightful afternoon. Sound community.
PHOTOS: 1 Seattle Symphony Second Violin Stephen Bryant introduces the music 2 Seattle Symphony Microsoft Ambassador Jack Freelander welcomes guests 3 The performance drew a crowd on Microsoft’s Redmond campus 4 5 Microsoft employees and their families were a receptive audience for the afternoon’s chamber music performance
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