Seattle Symphony Runs: April 7-29 CONTENTS NO NEED to HOLD the APPLAUSE the Vision and Commitment of United Way’S Million Dollar Roundtable Is Music to Our Ears

Home , Dinu Lipatti, Gramophone Hall of Fame, Herman Sarkowsky, Leif Ove Andsnes, Melinda French Gates, Mimi Gardner Gates

APRIL 2017

MORLOT CONDUCTS BRUCKNER LEIF OVE ANDSNES & MARC-ANDRÉ HAMELIN DUO RECITAL TALL-TAKACS’ MUSICAL LEGACY Encore Magazine: Seattle Symphony Runs: April 7-29 CONTENTS NO NEED TO HOLD THE APPLAUSE The vision and commitment of United Way’s Million Dollar Roundtable is music to our ears. This group is leading the way, building a foundation for our community where people have homes, students graduate and families are financial stable. These generous donors have committed to gifts of $1 million or more over a period of five years or less. So, no need to wait to clap. Cheering them on means cheering our community on.

Ginger Ackerley Theresa E. Gillespie and Satya and Rao Remala Foundation Anonymous (1) John W. Stanton John and Nancy Rudolf Bacon Family Foundation Anne E. Gittinger Herman and Faye Sarkowsky Ballmer Group Greenstein Family Foundation Charitable Foundation Stan and Alta Barer Matt Griffin and Evelyne Rozner The Schultz Family Foundation Carl and Renee Behnke Nick and Leslie Hanauer Jon and Mary Shirley Foundation Foundation Brettler Family Foundation Jim and Jan Sinegal John C. and Karyl Kay Brad Smith and Kathy Surace-Smith Jon and Bobbe Bridge Hughes Foundation Orin Smith Family Foundation Jeffrey and Susan Brotman Craig Jelinek Charlie’s Produce James Solimano and Firoz and Najma Lalji Karen Marcotte Solimano Barney A. Ebsworth and John and Ginny* Meisenbach Rebecca Amato Tom Walker Blake and Molly Nordstrom Ellison Foundation Robert L. and Mary Ann T. Wiley Brandy and Pete Nordstrom Fund Richard and Barrie Galanti Bruce and Jeannie Nordstrom Gifts are as of December 31, 2016. Lynn and Mike Garvey Erik and Julie Nordstrom Melinda French Gates and William H. Gates III Raikes Foundation * Deceased

We applaud the Nordstrom family for their commitment to philanthropy and the Million Dollar Roundtable over the generations.

For more information, contact James Modie at 206.461.4515 or [email protected].

SIZE: 2/3 VERTICAL

Untitled-1 1 3/1/17 11:09 AM CONTENTS APRIL 2017

4 / CALENDAR

6 / THE ORCHESTRA

8 / SIMPLE GIFTS

10 / NOTES

FEATURE 11 / YOUR SYMPHONY, YOUR LEGACY Stories from the Musical Legacy Society

CONCERTS 13 / April 7, 8 & 9 REBIRTH BRASS BAND

15 / April 10 CHRISTIAN WILSON

17 / April 13 & 15 RACHMANINOV RHAPSODY ON A THEME OF PAGANINI

22 / April 14 RACHMANINOV UNTUXED

23 / April 20 & 22 MORLOT CONDUCTS BRUCKNER

26 / APRIL 24 LEIF OVE ANDSNES & MARC-ANDRÉ HAMELIN IN RECITAL

13 / REBIRTH BRASS BAND 30 / April 27 & 29 Photo courtesy of Rebirth Brass Band courtesy Brass Photo of Rebirth TCHAIKOVSKY PIANO CONCERTO NO. 1

35 / April 28 [UNTITLED] 3

46 / GUIDE TO THE SEATTLE SYMPHONY

47 / THE LIS(Z)T

26 / LEIF OVE ANDSNES 26 / MARC-ANDRÉ HAMELIN Photo: Fran Kaufman Fran Photo:

ON THE COVER: Ludovic Morlot by Lisa-Marie Mazzucco 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 April Classical KING FM 98.1 every & May 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

■ APRIL 2pm SPO: Elgar’s Enigma Variations 7:30 pm EMG presents The Baltimore Consort 8pm All-Rachmaninov 1

2pm National 7:30pm National 7:30pm National 10:30am A Garden Full 9:30, 10:30 & 11:30am Geographic Live: Geographic Live: Geographic Live: of Songs A Garden Full of Songs The Mystery of Our The Mystery of Our The Mystery of Our 7:30pm Live @ 8pm Human Story Human Story Human Story Benaroya Hall: Rebirth Brass Band 2:30pm EMG presents Trace Bundy The Baltimore Consort 7:30pm Live @ 8pm Live @ Benaroya 7pm NWAA presents Benaroya Hall: 8pm Hall: Max Raabe & An Evening with Neil Tinariwen with Rebirth Brass Band Palast Orchester Gaiman 2 3 Dengue Fever 4 5REBIRTH BRASS BAND6 7 8

2pm 7:30pm 7:30pm 7pm 2pm 2017 Suzuki Rebirth Brass Band Christian Wilson Rachmaninov Rachmaninov Celebration Concert Rhapsody on a Untuxed Theme of Paganini 8pm Rachmaninov Rhapsody on a Theme of Paganini

9 10 11 12 13 14 15

6:30pm 7:30pm Live @ 7:30pm SRJO Trimpin Film Benaroya Hall: presents Louis Screening* Jóhann Jóhannsson Armstrong: A New featuring American Orleans State of Contemporary Music Mind Ensemble 8pm Morlot 7:30pm Morlot Conducts Bruckner Conducts Bruckner 16 17 18 19 20 21 22

7:30pm 7:30pm 7pm ARCS presents 8pm 7:30pm Leif Ove Andsnes & Seattle Arts & Dinu Lipatti 100th Live @ Benaroya Pacific MusicWorks Marc-André Hamelin Lectures presents Anniversary Concert Hall: Jacob Collier presents Dido & in Recital Helen Oyeyemi Aeneas 7:30pm 10pm [untitled] 3 Tchaikovsky Piano 8pm Concerto No. 1 Tchaikovsky Piano 23 24 25 26 27 28 Concerto No. 1 29

3pm SYSO presents ■ MAY 8pm 11am Magic Circle Mahler’s Sixth Italian Masters Mime The Listener Symphony 7:30pm 7pm Byron SCGS presents Schenkman & Antigoni Goni Friends: Mozart & 8pm The Bachs Italian Masters 30 1 WINDBORNE’S2 THE MUSIC OF PRINCE3 4 5 6

2pm 12:30pm Watjen 8pm GiveBIG* 7:30pm 7pm 7pm Italian Masters Concert Organ Windborne’s The Seattle Music Celebrate Asia Ten Grands Recital – Free Music of Prince Exchange Project Demonstration with the Seattle 7:30pm 7:30pm 7:30pm Ensign Symphony Seattle Baroque An Evening with Symphony & Chorus Orchestra: Ode to Mark Pearson Presents Mother’s the Orchestra 7 Day Tribute 8 9 10 11 12 13

2pm 7:30pm 7:30pm 7:30pm Seattle Arts 7:30pm 8pm National National National & Lectures presents NW Sinfonietta Broadway Rocks Geographic Live: Geographic Live: Geographic Live: The Moth Mainstage presents Mozart’s with the Seattle Mankind to Mars Mankind to Mars Mankind to Mars “Requiem” Men’s Chorus 8pm 8pm Broadway Emporium presents Rocks with the Russell Howard Seattle Men’s Chorus 14 15 16 17 18 19 20

2pm Broadway 7:30pm Rocks with the David Briggs Seattle Men’s Chorus

5pm Music of Remembrance: Ceija 21 22 23 NATIONAL24 GEOGRAPHIC LIVE25 26 27

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

Rebirth Brass Band (April 7–9); Windborne’s The Music of Prince with the Seattle Symphony (May 9); 4 SEATTLESYMPHONY.ORG National Georaphic Live: Mankind to Mars (May 14–16) © Shutterstock

SSO087-Calendar.indd 1 3/28/17 9:19 AM Business, meet bassoons.

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. LUDOVIC MORLOT SEATTLE SYMPHONY MUSIC DIRECTOR

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

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

SEATTLE SYMPHONY ORCHESTRA ROSTER

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

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

6 SEATTLESYMPHONY.ORG ■ NATASHA BAZHANOV & ARTUR GIRSKY Second Violins Photo: James Holt James Photo:

“We have a nine-year-old, so there’s not much relaxing going on,” laughs Natasha Bazhanov. She and her husband, Artur Girsky, are violinists with the Seattle Symphony. “Our daughter Sasha has a busy social schedule: Russian lessons, ballet, violin,” continues Bazhanov. “She’s the social butterfly of the family.”

Bazhanov and Girsky met while they were musicians with the Florida Orchestra. Although they are professional violinists, Bazhanov and Girsky didn’t want their daughter to feel obligated to follow in their path. “We didn’t want to force her to play violin, so we gave her lots of other options: ballet, piano, but she kept insisting she wanted to learn,” says Bazhanov. “She eventually gave up on us, so one of our friends bought her a violin and started giving her lessons.”

When they aren’t keeping up with their daughter’s schedule, they both like to enjoy some quiet at home. “Sometimes I like to watch bad movies,” says Girsky. “It’s kind of strange. I’m interested in seeing how bad it could be.” He says his favorite bad movie so far is Fast and the Furious: “That was probably the worst!”

Bazhanov says she prefers to read, in both English and Russian. Her favorite book, by Aleksandra Brushtein, is Doroga Ukhodit v Dal, which roughly translates as Road That Disappears Into a Distance.

After growing up in the Soviet Union, Bazhanov and Girsky want their daughter to enjoy freedoms they didn’t experience. “We both were lucky that we could be in the music field where people were still free to express themselves without too much fear,” says Bazhanov. “Our parents tried to give us freedom that they themselves couldn’t have. We want to do the same for Sasha.”

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

encoreartsseattle.com 7 ■ SIMPLE GIFTS Wellspring Family Services

The Seattle Symphony partners with Wellspring Family Services, a nonprofit, multi-service agency serving families in Seattle and King County caught in a cycle of poverty, trauma and homelessness. Wellspring helps individuals and families break the cycle with mental health services, homelessness prevention and housing placement support, trauma-informed early learning programs, basic needs provisions, and domestic violence intervention. Every year, Wellspring Family Services helps thousands of children and families with science-based, individually tailored services to achieve positive, permanent change in their lives. Members of the Wellspring community have the opportunity to attend Seattle Symphony concerts free of charge.

Wellspring Family Services is one of 17 partners in the Seattle Symphony’s Simple Gifts initiative which brings the healing power of music to those who have previously or are currently

Photo courtesy of Wellspring Family Services Family Wellspring courtesyPhoto of experiencing homelessness.

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

SEATTLE SYMPHONY BOARD OF DIRECTORS

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

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

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

SEATTLE SYMPHONY FOUNDATION BOARD OF DIRECTORS

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

BENAROYA HALL BOARD OF DIRECTORS

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

8 SEATTLESYMPHONY.ORG SEATTLE SYMPHONY | BENAROYA HALL ADMINISTRATIVE STAFF

SENIOR MANAGEMENT TEAM Lauren Eastman, Francis Ho, DEVELOPMENT Simon Woods Brendan McCullen Shaina Shepherd President & CEO Discovery Coordinators Development Officer (Assistant to VP of Leslie Jackson Chihuly Chair Development & Grants) Charlie Wade COMMUNICATIONS Renee Duprel Senior Vice President of Marketing Shiva Shafii Associate Vice President of Development & Business Operations Public Relations Manager (Campaign) Jennifer Adair Heidi Staub Maria Kolby Wolfe Vice President & General Manager Editor & Publications Manager Major Gifts Officer (Campaign) Maureen Campbell Melville James Holt Betsy Wohlers TOWN MUSIC SERIES Vice President & Chief Financial Officer Digital Content Manager Development Officer (Campaign) Rosalie Contreras Andrew Stiefel Becky Kowals TOWNHALLSEATTLE.ORG Vice President of Communications Social Media & Content Manager Director of Major Gifts and Planned Giving Elena Dubinets Nicholas Walls, Marsha Wolf Vice President of Artistic Planning MARKETING Major Gift Officers Jane Hargraft Christy Wood Amy Bokanev Vice President of Development Director of Marketing Gift Officer Kristen NyQuist Rachel Spain Jessica Lee, Tess Benson Director of Board Relations Marketing Manager Development Coordinators (Major Gifts) & Strategic Initiatives Kyle Painter Paul Gjording Laura Reynolds Marketing Operations Coordinator Senior Major Gift Officer April 19 Director of Education & Community Barry Lalonde (Foundations & Government Relations) Engagement Director of Digital Products Megan Hall Jason Huynh Director of Development Operations EXECUTIVE OFFICE Digital Marketing Manager Alicia Archambault PROJECT Rachel Moore Herb Burke Stewardship Manager Executive Assistant to the President & CEO and Tessitura Manager Senior Vice President Martin K. Johansson Gerry Kunkel Development Communications Manager ARTISTIC PLANNING Corporate & Concierge Accounts Manager Jacob Roy Data Operations Manager Paige Gilbert Jessica Forsythe Assistant Artistic Administrator Art Director Maery Simmons Data Entry Coordinator Rose Gear Helen Hodges Personal Assistant to the Music Director Graphic Designer Tami Horner Trio Senior Manager of Special Events Dmitriy Lipay Forrest Schofield “Peter and the Wolf” & Corporate Development Director of Audio & Recording Group Services Manager Zoe Funai Blaine Inafuku Joe Brock Special Events Manager Artist Services, Media & Chorale Manager Retail Manager Christina Hajdu Ryan Hicks Corporate Development Manager ORCHESTRA & OPERATIONS Sales Associate Kelly Woodhouse Boston Brent Olsen FINANCE & FACILITIES Director of Operations Ticket Sales Manager David Nevens Ana Hinz Aaron Gunderson Controller Production Manager Assistant Sales Manager Clem Zipp Scott Wilson Nina Cesarrato, Molly Gillette Hear what happens Assistant Controller Personnel Manager Ticket Office Coordinators Lance Glenn Keith Higgins Asma Ahmed, Mary Austin, when Prokofiev’s Information Systems Manager Assistant Personnel Manager James Bean, Melissa Bryant, Brian Goodwin, Mike Obermeyer, Megan Spielbusch masterpiece relocates Patricia Takahashi-Blayney CaraBeth Wilson, Elizabeth Ylaya Accounting Manager Principal Librarian Ticket Services Associates Jacqueline Moravec to Brooklyn Robert Olivia Payroll/AP Accountant Associate Librarian VENUE ADMINISTRATION Marwa Aliwi Jeanne Case Matt Laughlin Staff Accountant Librarian Director of Facility Sales Bernel Goldberg Joseph E. Cook James Frounfelter, Adam Moomey General Counsel Technical Director Event & Operations Managers David Ling Mark Anderson, Jeff Lincoln Sophia El-Wakil Facilities Director Assistant Technical Directors Facilities Sales & Operations Coordinator Kevin Baker Chris Dinon, Don Irving, Aaron Keith Godfrey Facilities Manager Gorseth, John Roberson, Michael House Manager Schienbein, Ira Seigel Bob Brosinski Stage Technicians Tanya Wanchena Lead Building Engineer Assistant House Manager & Usher Scheduler Aaron Burns, Damien De Witte EDUCATION & Milicent Savage, Patrick Weigel Building Engineers COMMUNITY ENGAGEMENT Assistant House Managers Rodney Kretzer Becky Spiewak Dawn Hathaway, Lynn Lambie, Mel Facilities & Security Coordinator Education & Community Engagement Manager Longley, Ryan Marsh, Markus Rook Katie Hovde Head Ushers HUMAN RESOURCES Program Associate Laura Banks, Everett Bowling, Kathryn Osburn Veronica Boyer, Evelyn Gershen Jessica Andrews-Hall, Lena Console, Human Resources Generalist Assistant Head Ushers Sonya Harris, Jesse Harvey, Rafael Karya Schanilec Howell, Zachary Kambour, Shelby Ron Hyder Receptionist/Marketing Assistant Leyland, Leslie McMichael, Rebecca Technical Coordinator Morhlang, Dana Staikides Teaching Artists

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

encoreartsseattle.com 9 NEWS FROM: SIMON WOODS, PRESIDENT & CEO

Welcome to Benaroya Hall!

For three mornings in March, Benaroya Hall was taken over by 10,000 third through fifth graders from 114 schools attending our annual Link Up concerts. They learned pieces in preparation to sing and play on the recorder from their seats along with the Seattle Symphony in Benaroya Hall. The impact of

Photo: Brandon Patoc Brandon Photo: this experience on young people is extraordinary, and the number of students who have the opportunity to participate is increasing year after year. This is part of our commitment to expand music education in elementary schools around the Puget Sound region.

Access for All is a proposal currently before the King County Council to increase funding for arts, science and heritage organizations to expand access to arts and music in our public schools and access to diverse cultural experiences throughout the county. More students could benefit from the Seattle Symphony’s Link Up program in the future through Access for All and I encourage you to visit accessforallwa.org to learn more about this initiative.

There are numerous incredible artistic highlights coming up that you won’t want to miss. Ludovic Morlot is conducting Bruckner’s stunning Fifth Symphony on April 20 and 22. The following Friday is the last late-night [untitled] of the season, which centers around two American cultural icons, Andy Warhol and Thelonius Monk. The ninth annual Celebrate Asia concert on May 12 features movie music by Japanese and Indian composers, including A.R. Rahman, who will make a special appearance at the program. This concert, along with the special pre- and post-concert entertainment, is a wonderful opportunity to revel in the rich musical traditions of Seattle’s vibrant Asian communities.

I can’t end this letter without sharing my thoughts on our upcoming 2017–2018 season. It is truly a season of highlights — big and dramatic repertoire, premieres of new music, cross-genre collaborations and amazing guest artists. I urge you to pick up a brochure and see for yourself, or explore the season on our website. If you’re like me and don’t want to miss a moment, choose a subscription package that lets you experience all the concerts that excite you for the best value.

Thank you for joining us today and I hope you enjoy the music!

Simon Woods President & CEO NOTA BENE {

TEN GRAND PIANOS. TEN AMAZING PIANISTS. Join us for Ten Grands on Saturday, May 13 as we celebrate ten sensational years of giving the gift of music to children. This

annual fundraiser, presented in partnership with the Seattle Symphony, benefits music education programs throughout Washington State. seattlesymphony.org/tengrands { { LULLABY PROJECT PERFORMANCE For the past four years the Seattle Symphony has partnered with Mary’s Place to empower mothers in challenging situations by helping them write personal lullabies for their children. This year’s lullabies will be performed at a celebratory concert in Soundbridge in May. Hear their lullabies and { others at soundcloud.com/carnegiehalllullaby.

10 SEATTLESYMPHONY.ORG

EAP 1_6 V template.indd 1 2/28/17 10:51 AM NEWS FROM: SIMON WOODS, PRESIDENT & CEO YOUR SYMPHONY. YOUR LEGACY. Stories from the Musical Legacy Society BY MARTIN K. JOHANSSON

“Music has changed through the years. It’s very important that a Symphony continues to change with it ... keeping it alive for future generations.” Photo: James Holt James Photo:

This month we hear from Patricia Tall-Takacs about Why is supporting the Seattle Symphony important to you? her passion for symphonic music and the Seattle Symphony. Patricia is a Lifetime Director and a We have a very rich cultural scene in Seattle. Music is a place that member of the Musical Legacy Society which I have gone to consistently my entire life for solace, for stimulation, for excitement. I just think that a city without a Symphony is a city honors patrons who have included the Symphony without a soul. And I do feel that our Symphony is the artistic soul in their will or estate plans. Legacy donors help to of Seattle and that’s why I’ve continued to support it. ensure a vibrant future for the Seattle Symphony. You’ve also helped commission new works of music including Do you remember your first Seattle Symphony concert? Aaron Jay Kernis’ Violin Concerto that had its U.S. Premiere at Benaroya Hall last month. Could you share a little about that My first experience going to a concert was when I was 11 and the experience? Seattle Symphony used to have a program for 5th graders. I’d only been in the theater to see a movie, but now the curtain went Commissioning a new work is very exciting for me. I want to up and the conductor came out, tapped his baton on the podium, keep classical music alive, and as we have new audiences we and the orchestra started playing George Gershwin’s Rhapsody in have to be able to offer new types of music. Music has changed Blue. I have never forgotten the experience of hearing it live after through the years. It’s very important that a Symphony continues only listening to recordings. to change with it. My whole commitment to the Symphony — and to symphonic music — is to keeping it alive for future generations. When I came back to Seattle after college to do post-graduate I want my great grandchildren to be able to go to the Symphony work, I heard about student tickets to the Symphony. We sat in and say, “Oh wow, that was fabulous!” the front row. Henry Siegl was the concertmaster. He would come out before every concert and sit at the edge of the stage with his legs dangling over, and he would say, “Now kids” — because we For more information about the Musical Legacy Society, were in the front row — “Now kids, this is what you are going to please contact Becky Kowals at 206.215.4852 or be hearing tonight.” And he would talk to us about the music. He [email protected]. gave us such a gift. Many years later, right before the Symphony moved to Benaroya Hall, I happened to see him, and I had the The Seattle Symphony’s Musical Legacy Society is generously opportunity to tell him what a gift he had given to me and thank sponsored by Laird Norton Wealth Management. him. It was really wonderful.

encoreartsseattle.com 11 April 2017 Volume 30, No. 8

Paul Heppner Publisher Susan Peterson Design & Production Director Ana Alvira, Robin Kessler, Shaun Swick, Stevie VanBronkhorst What Production Artists and Graphic Design Mike Hathaway Sales Director Brieanna Bright, Joey Chapman, Ann Manning, Rob Scott Seattle Area Account Executives Marilyn Kallins, Terri Reed San Francisco/Bay Area Account Executives Jonathan Shipley do you Ad Services Coordinator Carol Yip Sales Coordinator Sara Keats Jonathan Shipley think? Online Editors Leah Baltus Editor-in-Chief Paul Heppner Publisher Dan Paulus Art Director Gemma Wilson, Jonathan Zwickel Senior Editors Amanda Manitach Visual Arts Editor Barry Johnson Associate Digital Editor

Participate in the City Arts spring reader survey to tell us who you are, what you love, and what we can do Paul Heppner to make City Arts even better. President Mike Hathaway Plus: You could win some sweet prizes! Vice President Genay Genereux Accounting & Office Manager cityartsonline.com/survey Sara Keats Marketing Manager Ryan Devlin Business Development Manager

Corporate Office 425 North 85th Street Seattle, WA 98103 p 206.443.0445 f 206.443.1246 [email protected] 800.308.2898 x105 www.encoremediagroup.com

Encore Arts Programs is published monthly by Encore Media Group to serve musical and theatrical events in the Puget Sound and San Franc isco Bay Areas. All rights reserved. ©2017 Encore Media Group. Reproduction without written permission is prohibited.

12 SEATTLESYMPHONY.ORG SEATTLE POPS SERIES TITLE SPONSOR Friday, April 7, 2017, at 8pm Saturday, April 8, 2017, at 8pm Sunday, April 9, 2017, at 2pm

REBIRTH BRASS BAND SEATTLE POPS SERIES Title Sponsor

Vincent Broussard, saxophone Glenn Hall, trumpet THE Chadrick Honoré, trumpet SEATTLE SYMPHONY Stafford Agee, trombone Gregory Veals, trombone THANKS MCM Phillip “Phil” Frazier, tuba FOR MAKING Derrick Tabb, snare drum THE SEATTLE POPS Keith Frazier, bass drum SERIES POSSIBLE.

Program to be announced from the stage.

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

encoreartsseattle.com 13 REBIRTH BRASS BAND EMERSON QUARTET WITH PIANIST CRAIG SHEPPARD APRIL 21 The world-renowned Emerson Quartet presents a new work by British composer Mark-Anthony Turnage — and teams up with UW Professor of Piano Craig Sheppard for Dvořák’s soulful Piano Quintet No. 2.

Whether seen on HBO’s Treme or at their legendary Tuesday night gig at The Maple KIRILL GERSTEIN Leaf, Grammy-winning Rebirth Brass Band is a true New Orleans institution. Formed MAY 16 in 1983 by the Frazier brothers, the band has evolved from playing the streets of Acclaimed Russian pianist Kirill Gerstein the French Quarter to playing festivals and makes his Meany Center debut with a stages all over the world. While committed pair of Romantic piano blockbusters: to upholding the tradition of brass bands, Liszt’s fiendishly virtuosicTranscendental they have also extended themselves into Etudes and Brahms’ impassioned Piano the realms of funk and hip-hop to create Sonata No. 2. their signature sound. “Rebirth can be precise whenever it wants to,” says The New York Times, “but it’s more like a TICKETS STILL AVAILABLE party than a machine.” In the wake of the MEANYCENTER.ORG sometimes-stringent competition among 206-543-4880 New Orleans brass bands, Rebirth is the undisputed leader of the pack, and they show no signs of slowing down. UW MUSIC & PACIFIC MUSICWORKS PRESENT FROM THE ARTIST: “Our first big show was at New Orleans Jazz & Heritage Festival in 1982, which we’ve Dido & Aeneas continuously played through the years. BY HENRY PURCELL The first time we played we felt like we’d really made it — or at least found a crowd that loves our music as much as we do, Conducted by Grammy Award which was a pretty spectacular feeling. New winner Stephen Stubbs Orleans’ Jazzfest almost feels like a second Laura Pudwell: Dido home to us and although the people Brendan Tuohy: Aeneas and styles change, each time we play it, it always feels so similar to the first time. Julia Benzinger: the Sorceress Bringing that New Orleans’ brass to the Ross Hauck: the Sailor crowd that loves it the most, in the middle of the April heat... it always reminds me how we started and how far we’ve come. I’d SUNDAY, APRIL 30 say favorite moments are usually out on 2 PM the road playing in more remote areas in MEANY THEATER the U.S. — or foreign countries like Japan where you just don’t expect people to know ArtsUW TICKET OFFICE who you are, or love your music as much as 206.543.4880 WWW.MUSIC.WASHINGTON.EDU they do. It’s crazy to see how far our music reaches. A favorite recent memory was last summer traveling out to help christen the Blue Note opening in Tokyo, Japan, we had an absolute blast second-lining with all the patrons through the venue.” – Keith Frazier, Bass Drum player and original member

14 SEATTLESYMPHONY.ORG PROGRAM NOTES Monday, April 10, 2017, at 7:30pm

During his lifetime, Johann Sebastian Bach was unrivalled as a performer and improviser on the organ. Composition for the organ also occupied his efforts CHRISTIAN WILSON throughout his life; through these works, FLUKE/GABELEIN ORGAN RECITAL SERIES we are able to trace a growing maturity and confidence from his earliest works composed during his first professional Christian Wilson, organ appointment in Arnstadt to his long tenure at St. Thomas Church in Leipzig. One of his finest accomplishments, theFantasia and Fugue in G minor was likely completed JOHANN SEBASTIAN BACH Fantasia and Fugue in G minor, BWV 542 12’ by 1720; the Fantasia alternates between recitativo and chorals sections that explore Upon la, mi, re ANONYMOUS 3’ every nook and cranny of chromaticism (English, early 16th century) available to Bach. The fugue was based on an old Dutch dance song, and may THOMAS TOMKINS A Ground 5’ date from Bach’s 1720 application for the

organist’s position at the Jacobikirche in WILLIAM BYRD The Carmen’s Whistle 5’ Hamburg.

FELIX MENDELSSOHN The Hebrides (“Fingal’s Cave”) 12’ The history and development of the organ /arr. Edwin H. Lemare in England was quite different than that in continental Europe; though there were INTERMISSION some larger instruments constructed in English cathedrals by the end of the ÁSTOR PIAZZOLLA La Muerte del Ángel (“The Death of the Angel”) 4’ 10th century, most organs were smaller, /arr. Christian Wilson Oblivion single-manual instruments of limited resources. The practice of organists playing EDWARD BAIRSTOW Organ Sonata in E-flat major 18’ in alternation with singers during church Andante serioso services ended with the Reformation; after Allegro giocoso that, its use was largely restricted to the Maestoso playing of shorter pieces, or voluntaries, before and after services. The anonymous FRANCIS POTT Toccata 10’ Upon la, mi, re (the title denotes the three pitches of the principal motive, A, E and D), was for many years attributed to Thomas Preston. Near the end of his life, Thomas Tomkins composed a series of keyboard works in a then-archaic style (Tomkins had been responsible for the music at Worcester Cathedral from 1596 until choral services were discontinued by the Puritans in 1646 and the organ dismantled). William Byrd was the finest composer and musician of the Elizabethan era, fully the equal of his continental colleagues Palestrina, Lassus and Victoria. Unlike them, he also composed extensively for keyboard instruments in a variety of dance and variation forms, most equally suitable for performance on harpsichord, virginal or organ. The Carmen’s Whistle was included in My Ladye Nevells Booke, a manuscript collection of 42 pieces by Byrd copied in Please note that the timings provided for this concert are approximate. 1591, one of the most important sources of Please turn off all electronic devices and refrain from taking photos or video. English Renaissance keyboard music. 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. There is nothing new about the practice of organists transcribing music for the

encoreartsseattle.com 15 CHRISTIAN WILSON PROGRAM NOTES continued Organ

FORTE: An innovator organ — the earliest repertoire for the Edward Bairstow was born in Huddersfield, amongst musicians, organ consisted primarily of transcriptions England, and educated at Oxford University Christian Wilson has and embellishments of contrapuntal vocal and the University of Durham. He held forged a unique path in motets. Though having fallen out of favor early positions as Organist in churches in the organ world, with organists in the mid-20th century, London and Leeds before being appointed showcasing trailblazing the practice has made a remarkable in 1913 as Master of Music at York Minister, virtuosity and profound resurgence in popularity with contemporary a position he held for the remainder of his musicianship through organists. life. The majority of his compositions were inspired and unorthodox for church use and for the organ, including programming. His performances celebrate One of the most accomplished and prolific his largest scale composition, the Sonata in both the historic roots and central practitioners of this art was Edwin Lemare; E-flat, completed in 1937. Though the work repertoire of the instrument whilst also born on the Isle of Wight in 1865, he certainly owes a debt of influence to Elgar engaging audiences through original immigrated to the United States in 1900, and his Organ Sonata in G, there are other juxtapositions with transcriptions, jazz and and subsequently held positions as civic influences from a wide range of composers, other alternative genres. organists in Pittsburgh, San Francisco, including Schubert and Debussy. The Portland (Maine) and Chattanooga. He opening Andante serioso develops RECENT ENGAGEMENTS: Wilson’s future was the most highly regarded and highly gradually to full organ, with considerable engagements include tours to South Africa paid organist of the era, and performed development of melodic themes. The and the U.S. and a recording of his own for audiences as large as 10,000. His second movement combines elements transcriptions of Shostakovich’s 24 Preludes transcriptions enabled audiences in smaller of both scherzo and toccata, and is the and Fugues (Op. 87). Recent engagements towns and cities to hear live performances works central highpoint. The fugal finale include Königsberg Cathedral, Spitalfields of the finest 19th century orchestral works shows Bairstow’s considerable mastery Festival, St. John’s Smith Square, St. Martin’s at a time when symphony orchestras were of traditional counterpoint, coupled with a Dudelange Luxembourg, Tarasp Castle found only in major metropolitan eras. remarkable lyrical quality no doubt acquired Switzerland, Ulster Hall and Westminster Mendelssohn’s Overture The Hebrides from decades of work in choral music. Cathedral, among others. Wilson’s was written in 1830, inspired by a visit to performances have met with acclaim at Fingal’s Cave on the island of Staffa, part The English composer Francis Pott major concert venues across Europe, of the Hebrides archipelago located off the studied music at Winchester College and Australia, Russia and the U.S. western coast of Scotland. Magdalene College, Cambridge. After holding earlier appointments at St. Hilda’s CAREER HIGHLIGHTS: Organist of the During the past few decades, the music of College, Oxford, and the London College Chapels Royal, HM the Tower of London, Astor Piazzolla has become increasingly of Music, he became the first Chair of and Assistant Organist at Christ Church well-known and performed. Born in Composition at the London College of Oxford, he is also busy as a pianist, Argentina to Italian immigrant parents, he Music in 2007. His composition awards chamber musician, musicologist and spent part of his younger years in lower include prizes in the 1997 Prokofiev teacher with a recent recording of English Manhattan, where he became acquainted International Composing Competition and works for viola and piano with Sarah-Jane with both jazz and classical music, and the 2004 Barlow International Composition Bradley. In 2012 he became the eighth became an accomplished bandoneonist. Award. His Toccata began as a brief piece person in the world to perform Francis After his return to Argentina, he studied written as a wedding voluntary, and first Pott’s epic Organ Symphony Christus intensely with Alberto Ginastera and performed on an organ of limited resources; (sometimes considered the “Everest” later with Nadia Boulanger in Paris. His he later expanded and developed it into of organ repertory) with performances earliest compositions were tangos written a more extensive work requiring the full in Germany and the UK. His numerous for his own tango orchestra. After some range of the modern concert organ. celebrated transcriptions range from works attempts to abandon tangos in favor of by Bach and Mendelssohn to Piazzolla and more “serious” compositions, he was © 2017 Joseph Adam Frank Zappa. encouraged by Boulanger to embrace the tango as his preferred mode of expression. BACKGROUND: Wilson’s musical career He combined traditional tango techniques began at Westminster Abbey, where with elements of jazz and counterpoint, he was head chorister. He spent a year expanded musical forms and harmonic as Sub-Organist at Perth Cathedral language, creating a hybrid that became (Western Australia) before taking up the known as nuevo tango. La Muerte del Organ Scholarship at Christ Church, Ángel dates from the 1960s and is one Oxford. Following a research degree several “angel” works that helped Piazzolla (investigating the pre-Reformation English define this highly individual approach to organ), Wilson was awarded various tango. Oblivion is taken from music written prizes and scholarships to study for in 1984 for the filmEnrico IV (Piazzolla was the solo postgraduate diploma at the also a prolific composer of film scores, Musikhochschule, Stuttgart with Jon Laukvik contributing to nearly 50 productions and Ludger Lohmann. between 1949 and 1995).

16 SEATTLESYMPHONY.ORG

Thursday, April 13, 2017, at 7:30pm Saturday, April 15, 2017, at 8pm

RACHMANINOV Todayʼs concert is made RHAPSODY ON A possible by the generous community of people THEME OF PAGANINI who supported the Seattle Symphony during the Seattle Foundationʼs Olari Elts, conductor 2016 Stephen Hough, piano GiveBIG. Seattle Symphony Symphony donors make it possible for us to attract ERKKI-SVEN TÜÜR De Profundis (U.S. Premiere) 17’ and retain outstanding orchestra musicians, bring SERGEY RACHMANINOV Rhapsody on a Theme of Paganini, Op. 43 23’ STEPHEN HOUGH, PIANO world-class conductors and soloists to the stage, and keep ticket prices INTERMISSION affordable so more people can share in the joy of SERGEY RACHMANINOV Symphonic Dances, Op. 45 35’ Non allegro symphonic music. Andante con moto (Tempo di valse) Lento assai—Allegro vivace To each and every Symphony supporter, thank you for sharing Pre-concert Talk one hour prior to performance. outstanding symphonic Speaker: Dr. Gary D. Cannon, Artistic Director of the Emerald Ensemble music with this community!

Stephen Hough’s performances are generously underwritten by Paul Leach and Susan Winokur through the Seattle Symphony’s Guest Artists Circle. Performances sponsored by Seattle Symphony GiveBIG supporters.

Mark your calendar for GIVEBIG Wednesday, May 10, 2017

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. SEATTLESYMPHONY.ORG/GIVEBIG

encoreartsseattle.com 17 PROGRAM NOTES

Rachmaninov and Beyond ERKKI-SVEN TÜÜR combinations. As a whole, his work reveals a wide-ranging eclecticism that embraces The program for this Seattle Symphony De Profundis the repeating motifs and pulsating concert is the second in nearly as many rhythms of minimalism, lush neo-Romantic weeks to focus on music by Sergey harmonies, various avant-garde devices, Rachmaninov. It includes two major BORN: October 16, 1959, in Kärdla, Estonia medieval chant and more. Tüür’s music pieces by this Russian-born composer, WORK COMPOSED: 2013 has been performed widely in Eastern who emigrated to the United States and WORLD PREMIERE: November 1, 2013, in Europe and increasingly in the West, and it spent many productive years here. The Helsinki. Olari Elts conducted the Helsinki has brought commissions and prizes from first, Rhapsody on a Theme of Paganini, Philharmonic Orchestra. several prestigious sources. is one of his most popular works, and small wonder. It combines moments “Out of the depths, I have called to thee, Tüür wrote De Profundis in 2013, the of the lush Russian Romanticism that O Lord.” work having been jointly commissioned Rachmaninov extended into the 1940s by the Helsinki Philharmonic, Estonian with the other side of his compositional So begins one of the most heartfelt biblical National Symphony, Netherlands Radio mastery, his deep understanding supplications, Psalm 130, more widely Philharmonic and West Australian of musical structure (evinced here known by the Latin version of its opening Symphony orchestras. The piece unfolds by superb handling of theme- words, De Profundis. Over centuries, its as a single movement, which the composer and-variations procedure to wrest verses have been set to music by many describes as “like a silent prayer that maximum variety from concise ideas.) composers — from the Renaissance master gathers strength as it grows.” It also gives us something to which Orlando de Lassus to the present-day Rachmaninov, one of the great pianists “mystic-minimalist” Arvo Pärt. Occasionally, WHAT TO LISTEN FOR: De Profundis of the last century, often treated his it has inspired purely instrumental music begins with a sonic image that matches own audiences: a display of brilliant also. A recent instance is the work that its title: a rumbling tone from the depths keyboard virtuosity. opens our program, by Erkki-Sven Tüür. of the piano and percussion, out of which emerges a line of harp and vibraphone Following intermission, we hear Tüür is one of a number of composers from tones, rising in pitch. A somber melodic Rachmaninov’s final work, Symphonic the Baltic countries who have achieved phrase in the low strings leads to echoes Dances. Generally less familiar than international prominence during recent of that initial gesture and an English horn either the Rhapsody or Rachmaninov’s decades. (Others include Pärt and Peteris solo that suggests an ancient chant. Other Second Symphony and Second Vasks, whose violin concerto Distant Light woodwinds join in, their voices becoming a and Third piano concertos, this is a was performed by Seattle Symphony in tangle of devotional fervor. wonderfully imaginative piece of music, 2012.) He is an eclectic and fascinating one that shows its author exploring new musician with an eclectic and fascinating The remainder of the piece develops these possibilities, rather than resting on his resumé. Born in a small town on an island ideas: sustained sonorities, mostly low in laurels. off the coast of Estonia, he moved during pitch; phrases with rising melodic contours; late adolescence to Tallinn, his country’s swirls of woodwind sound. The music arcs Although he lived in Western Europe capital. There, in addition to studying through moments of greater and lesser and the United States for roughly the at the High School of Music and Tallinn intensity, a passage of almost dance-like second half of his life, Rachmaninov Conservatory, he formed a band called rhythmic energy midway through leading retained a deep feeling for his native In Spe. Playing what has been described to a frenzied climax. From here the pace of Russia, a feeling that pervades his music as “progressive chamber art-rock,” a style events slows, and we hear a varied reprise in subtle and obvious ways. Today, that blended aspects of Renaissance of the composition’s opening moments, composers from the former Soviet and Baroque music with contemporary radiant bell tones suggesting thought, or bloc are again achieving international electronic sounds, it attracted a cult spirit, floating up to some bright realm. renown, writing music that, within new following during the late 1970s and a wider idioms, follows Rachmaninov’s example audience in the early ‘80s. Scored for 3 flutes, the third doubling alto in combining intense feeling with flute; 3 oboes, the third doubling English thoughtful construction. One of the But at the height of its success, Tüür left horn; 3 clarinets, the third doubling bass most accomplished of these composers the group to concentrate on composition. clarinet; 3 bassoons, the third doubling is the Estonian Erkki-Sven Tüür. His De In this he has been impressively contrabassoon; 6 horns; 3 trumpets; 3 Profundis, which opens our program, productive. His output includes eight trombones; tuba; timpani and percussion; is both highly expressive and skillfully symphonies and an equal number of harp, piano and celeste; strings. wrought from a few fertile musical concertos, various other orchestral pieces, notions. an opera, chamber music and choral works. Some of his compositions use electronic sound sources and processing, while others deploy instruments in unusual

18 SEATTLESYMPHONY.ORG TEN GRAND PIANOS. SERGEY RACHMANINOV TEN AMAZING PIANISTS. Rhapsody on a Theme of Paganini, Op. 43 CELEBRATING TEN SENSATIONAL YEARS!

BORN: April 1, 1873, in Semyonovo, near Novgorod, Russia DIED: March 28, 1943, in Beverly Hills, California WORK COMPOSED: 1934 WORLD PREMIERE: November 7, 1934, in Baltimore. The composer, a superb pianist, played the solo part, and Leopold Stokowski conducted the Philadelphia Orchestra.

Born and trained in Russia but a longtime resident of the United States, Sergey Rachmaninov achieved fame as both a pianist and a composer. In the former endeavor he became one of the great keyboard virtuosos of the 20th century, with a technique comparable to that of Franz Liszt. As a composer, Rachmaninov produced symphonies, tone poems, three operas, songs and choral works. Not surprisingly, he also wrote a great deal of music for the piano, both alone and as a solo instrument with orchestra. Among the latter category of works is his Rhapsody on a Theme of Paganini. SATURDAY, MAY 13, 2017, AT 7PM Rachmaninov composed this piece during a month of concentrated work in the summer of 1934, and he appeared as piano soloist with the Philadelphia TEN GRANDS Orchestra in the premiere performance the GIVING THE GIFT OF MUSIC TO CHILDREN following November. This and subsequent In partnership with: presentations in both America and Europe met with exceptional success, and the Sponsored by: Friends of Ten Grands work has remained one of Rachmaninov’s most popular compositions.

Ten Grands is a fundraiser benefiting music education programs throughout Washington State. Thank you for your support! The title “Rhapsody,” which implies a kind of spontaneous and loosely structured composition, is a misnomer that fails to credit the carefully planned architecture of this music. Formally, the piece presents a set of variations on a melody from the Capriccio in A minor by the celebrated 19th-century violin virtuoso Nicolò Paganini. (This theme has attracted a number of other composers, most famously Liszt, who transcribed it for piano as one of his Grand Etudes after Paganini, and Brahms, who used it as the subject of his own Variations on a Theme of Paganini, Op. 35.) At the TICKETS: same time, the work’s scoring for solo 206.215.4747 | SEATTLE SYMPHONY.ORG/TENGRANDS piano and orchestra gives the impression TenGrandsSeattle of a concerto, an impression reinforced by the overall shape of the piece. It begins

encoreartsseattle.com 19 PROGRAM NOTES continued

and ends with series of fast variations Scored for solo piano; 2 flutes and piccolo; called just Dances,” the composer told a framing a central group in slower tempo, an 2 oboes and English horn; 2 clarinets; journalist, “but I was afraid people would arrangement that mirrors the conventional 2 bassoons; 4 horns; 2 trumpets; 3 think I had written dance music for jazz three-movement, fast–slow–fast, concerto trombones; tuba; timpani and percussion; orchestras.” The composition received its format. harp; strings. premiere performance in January of 1941, when the Philadelphia Orchestra played it WHAT TO LISTEN FOR: The combination SERGEY RACHMANINOV under the direction of Eugene Ormandy. of variation and concerto forms is not the only formal feature of interest in this work. Symphonic Dances, Op. 45 Symphonic Dances proved to be Rachmaninov refrains from presenting the Rachmaninov’s last work, and the music Paganini melody at the outset, where we suggests a new direction the composer WORK COMPOSED: 1940 should normally expect it, beginning instead might have pursued had fate granted him WORLD PREMIERE: with a brief introduction followed by the first January 3, 1941, in more time. In contrast to the lush harmonies of 24 variations. This gives little more than Philadelphia. Eugene Ormandy conducted the and sweeping melodic lines that formerly a skeletal outline of the theme’s harmonic Philadelphia Orchestra. characterized his style, this composition structure. Only with this finished does offers a more modern sound of leaner the melody of Paganini’s Caprice appear The notion of a ballet score from the pen textures, sharper harmonies and more in the violins. Rachmaninov then begins of Sergey Rachmaninov seems, on first concise musical motifs. to elaborate his appropriated material in consideration, a surprising one. Although imaginative ways, reshaping the Paganini he had written a one-act music drama early WHAT TO LISTEN FOR: The first movement melody, adding counterpoint, varying in his career, and had served for a time as a presents a broad three-part format, with harmonic shadings and rhythmic contours, conductor at the renowned Bolshoi Opera, energetic music at the start and close framing occasionally stretching it at certain points. in Moscow, Rachmaninov permanently a lyrical central section. Its outer panels severed his ties to the theater when he left are an ironic march punctuated by bracing With the seventh variation, the composer Russia in 1917. (The composer lived initially chords, but these yield in the central episode introduces a new thematic element. While in Germany but eventually settled in the to pastoral woodwind calls and a pensive cellos and bassoons play a paraphrase of United States.) Moreover, the distinctive melody introduced by an alto saxophone. the Paganini melody, the piano presents combination of somberness and Romantic an ancient plainsong melody. It is Dies irae, effusion that had emerged as the signature The movement that follows brings a strange the ecclesiastical chant for the dead, simply trait of his concert music would seem ill- waltz interrupted periodically by sinister but eloquently harmonized. That theme, suited to the world of ballet. figures from the brass instruments. As in other which Rachmaninov quoted in several other well-known waltz treatments by early modern compositions and thereby made something As it happened, Rachmaninov made composers — Sibelius’ Valse triste and Ravel’s of a musical signature, reappears in the his debut as a ballet composer quite La valse, for example — this music conveys a tenth variation. The variation that follows is unintentionally. In 1939 another Russian somewhat ghostly atmosphere. essentially an accompanied cadenza — a emigré, Mikhail Fokine (the legendary rhapsodic solo for the pianist — and marks choreographer of Les Sylphides, Petrushka, The finale is the longest of the three the beginning of the (mostly) more leisurely Daphnis et Chloé and other works), movements, and the richest in detail. It opens “middle movement.” created a ballet to Rachmaninov’s already in slow tempo but eventually accelerates to an well-known Rhapsody on a Theme of Allegro vivace marked by animated rhythms Here the individual variations increasingly Paganini. The composer, undoubtedly and a surprisingly Spanish flavor. Even more take on the aspect of character pieces, flattered, took a sudden interest in dance surprising, in the context of this lively music, is each with a distinct mood, instrumental music and early in 1940 began to work on the intrusion of a severe theme given out by colors and sonic textures. This section a new orchestral piece. He initially called the brass as the movement builds to a climax. concludes with a wonderfully lyric this Fantastic Dances, and titled its three This is Dies irae, the ancient ecclesiastical eighteenth variation, which features the movements Noon, Twilight and Midnight. chant for the dead we already heard in type of memorable, song-like melody that Rhapsody on a Theme of Paganini. But its Rachmaninov wrote so well. (First stated When he had accumulated sufficient reminder of death has only a passing effect by the piano, it is taken up by orchestral sketches, Rachmaninov played the music here, for the chant is soon swept aside by violin section against a throbbing keyboard for Fokine, hoping that the choreographer more vital sounds as the music rushes to its accompaniment.) Thereafter, the music would want to make a ballet with the new conclusion. grows increasingly brilliant and energetic, work also. But the potential collaboration closing with a dramatic recurrence of the with Fokine never materialized, and Scored for 2 flutes and piccolo; 2 oboes Dies irae melody played against a variant Rachmaninov completed the music as a and English horn; 2 clarinets and bass of the Paganini theme during the final concert piece. By the time he finished it, in clarinet; alto saxophone; 2 bassoons and variation. the autumn of 1940, he had dropped the contrabassoon; 4 horns; 3 trumpets; 3 descriptive titles of the movements and trombones; tuba; timpani and percussion; changed that of the entire composition to harp and piano; strings. Symphonic Dances. “It should have been © 2017 Paul Schiavo

20 SEATTLESYMPHONY.ORG OLARI ELTS Conductor

“The true star of the show, though, was Estonian conductor Olari Elts, who rather magically managed to conjure quite analytical, Framing the Northwest since 1972 microscopically detailed performances that still AURORA BALLARD BURIEN UNIVERSITY Photo: Marco Borggreve Marco Photo: sparkled with 23632 Hwy 99, Ste P 1703 NW Market St 457 SW 153rd 2900 NE Blakeley St, #A spontaneity and fresh, vivid life. [Haydn Edmonds WA 98026 Ballard WA 98107 Burien WA 98166 Seattle WA 98105 206-546-6480 206-784-7565 206-246-2293 206-522-0968 Symphony No. 86]” – The Scotsman

Olari Elts’ passion for distinctive programming rich with invention has earned him much praise on the international music scene. Elts’ passion for fellow Estonian Erkki-Sven Tüür’s music was marked by the release of an all-Tüür recording in 2014 including Symphony No. 5 for electric guitar, big band and orchestra, and the accordion concerto Prophecy (Ondine). Olari Elts continues as the Principal Guest Conductor of the Estonian National Symphony Orchestra. Positions he has previously held include Principal Guest Conductor of the Helsinki Philharmonic from 2011–14, Principal Guest of the Orchestre de Bretagne from 2006–11, Principal Guest Conductor of the Scottish Chamber Orchestra from 2007–10, Principal Conductor of the Latvian National Symphony Orchestra from 2001–06. Born in Tallinn in 1971, Olari Elts is founder of his contemporary music ensemble, NYYD Ensemble.

FROM THE ARTIST: “‘My music is like a long dark coda into the Mikhail Shmidt night.’ This is how Rachmaninov generally First Violin described his own music. And it cannot be more suitable in the context of his Born: Moscow, Russia Symphonic Dances — one of the most Playing since: Age 5 powerful swansongs ever written. For me Rachmaninov’s Symphonic Dances is his Seasons with the Symphony: 26 best symphony. It is in a way even gloomier Favorite piece: Bach’s Mass in B minor than the Fourth Symphony or Deaths Island despite having the most beautiful, melancholic and uplifting music he has ever SYMPHONY MUSICIANS CIRCLE written. As a counteract to Rachmaninov’s Join the Seattle Symphony’s newest giving circle and support outstanding Dances, which fatalistically rallies into members of the orchestra. You’ll enjoy exclusive benefits that connect you the night, gradually adding speed as the atmosphere is darkening around it, Erkki- with musicians and other Symphony donors for a personal and unforgettable Sven Tüür’s De Profundis has a reversed behind-the-scenes experience. form. It moves from the darkness, through the voluptuous powerful sound clouds, INCREASE YOUR IMPACT: New and increased Symphony Musicians towards the celestial light.” Circle gifts will be DOUBLED through a generous match by Seattle Symphony Board member Judith A. Fong.

SEATTLESYMPHONY.ORG/MUSICIANSCIRCLE | 206.215.4844

encoreartsseattle.com 21 STEPHEN HOUGH Piano Stephen Hough is regarded as a Friday, April 14, 2017, at 7pm renaissance man of his time. Over the course of his career he has distinguished himself as RACHMANINOV a true polymath, not only securing a reputation as UNTUXED a uniquely insightful concert pianist, but also as a writer and UNTUXED SERIES composer. In 2001 Hough was the first classical performing artist to win a Olari Elts, conductor MacArthur Foundation Fellowship. He was Stephen Hough, piano awarded Northwestern University’s 2008 Jonathan Green, host Jean Gimbel Lane Prize in Piano, won the Royal Philharmonic Society Instrumentalist Seattle Symphony Award in 2010 and in January 2014 was made a Commander of the Order of the SERGEY RACHMANINOV Rhapsody on a Theme of Paganini, 23’ British Empire by Queen Elizabeth in the Op. 43 New Year’s Honors List. Many of Hough’s STEPHEN HOUGH, PIANO catalogue of over 50 albums have garnered international prizes including the Deutsche SERGEY RACHMANINOV Symphonic Dances, Op. 45 35’ Schallplattenpreis, Diapason d’Or, Monde Non allegro de la Musique, several Grammy Andante con moto (Tempo di valse) nominations, eight Gramophone Magazine Lento assai—Allegro vivace Awards including Record of the Year in 1996 and 2003, and the Gramophone Gold Disc Award in 2008, which named his complete Saint-Saëns Piano Concertos as the best Program notes may be found on pages 19–20. recording of the past 30 years.

FROM THE ARTIST: “The ‘Rach Pag’ is an old friend now. I’ve played it many times, including, at short notice for an ailing pianist, my debut on Audience Development supported by The Wallace Foundation. the West Coast, at the Hollywood Bowl. Stephen Hough’s performances are generously underwritten by Paul Leach and I had 48 hours to get a piece I’d learned Susan Winokur through the Seattle Symphony’s Guest Artists Circle. as a student back into my fingers then get on to a plane over to the other side of the world — all the way from Manchester. I’ve always enjoyed playing it for so many reasons: the brilliance of its piano writing; its tight-as-a-drum structure; the rhythmic heart beating in every bar; the lyrical outpouring so characteristic of the composer. About two-thirds of the way though, at its darkest moment, the sun comes out as Rachmaninov turns the theme upside down, warms it into D-flat major, then spins out of it a tune which has raised billions of hairs on millions of necks since the first performance.”

22 SEATTLESYMPHONY.ORG PROGRAM NOTES

Thursday, April 20, 2017, at 7:30pm A MESSAGE FROM MUSIC Saturday, April 22, 2017 at 8pm DIRECTOR LUDOVIC MORLOT I am honored to perform my first Bruckner symphony with the orchestra. Bruckner is a MORLOT CONDUCTS composer I have always wanted to tackle, but like the music of the other great B’s (Beethoven, Brahms) the complexity of his BRUCKNER contrapuntal writing is challenging. If you think late Beethoven is complex, Bruckner takes it yet a step further! Despite the Ludovic Morlot, conductor complexity, I find the music of Bruckner Seattle Symphony extremely comforting and powerful in that quest for inner truth. ANTON BRUCKNER Symphony No. 5 in B-flat major, WAB 105 81’ Introduction: Adagio—Allegro With Bruckner, the orchestra has an Adagio opportunity to work on a completely Scherzo: Molto vivace different set of skills which this music Finale: Adagio—Allegro moderato requires — impeccable voicing, intonation and blend, and an acute sense of listening to one another. It is a blessing to be crafting This concert is performed without intermission. this music with this orchestra in such a gorgeous space as Benaroya Hall.

Pre-concert Talk one hour prior to performance. Please stay for the organ recital after Speaker: Dr. David Alexander Rahbee, University of Washington Director of the Saturday concert to hear our superb Orchestra Activities organ masterfully played by Joseph Adam. Bruckner spent years as a church organist Following the Saturday, April 22 performance Joseph Adam will give a 30-minute and frequently composed at the organ, so organ recital in the S. Mark Taper Foundation Auditorium. The program for this it should bring out some interesting musical recital is as follows. connections. I look forward to experiencing it myself. JOHANN SEBASTIAN BACH Organ Concerto in A minor, BWV 593 13’ Allegro See Ludovic Morlot’s biography on page 6. Adagio Allegro

JOHANN SEBASTIAN BACH Toccata in F major, BWV 540 9’ Fifth Symphonies: A Deep Tradition JOHANN SEBASTIAN BACH Prelude and Fugue in A minor, BWV 543 9’ Since Beethoven, fifth symphonies often have been significant works for those composers with sufficient creative powers to reach this milestone. Beethoven’s Fifth is, of course, a singularly famous work, a composition that stands as a musical emblem of heroic struggle and triumph. Tchaikovsky’s marked his return to symphonic composition after a decade away from it. Mahler’s launched a new period of purely instrumental symphonies following three works in which voices figured prominently. Shostakovich used his exultant Fifth Symphony to reassert himself as a Please note that the timings provided for this concert are approximate. leading Soviet artist after a period in Please turn off all electronic devices and refrain from taking photos or video. which he had fallen from favor with Performance ©2017 Seattle Symphony. Copying of any performance by camera, audio or video recording Communist Party officialdom. Prokofiev equipment, and any other use of such copying devices during a performance is prohibited. extended the tradition of heroic fifth

encoreartsseattle.com 23 PROGRAM NOTES continued

symphonies established by Beethoven marked more by Baroque grandeur than of Viennese music, nor that his clumsy and affirmed, in different ways, by Romantic passion. But suddenly, or so it bearing, dowdy dress and rustic manner Tchaikovsky, Mahler and Shostakovich. seems, Bruckner discovered the music of offered an easy target for the sophisticates his own time. Wagner and Liszt made a of the Austrian capital. His open admiration Anton Bruckner’s Fifth Symphony also strong impression on him, and in 1866 he of Wagner’s music also marked him proved a landmark in his career. Each heard Beethoven’s Ninth Symphony for as a target for the Brahms camp, who of the composer’s previous symphonic the first time. That same year, Bruckner regarded the composer of Lohengrin and works had revealed a progressive completed his Symphony No. 1 (that is, his Tristan und Isolde as their hero’s arch- deepening of musical thought and first acknowledged symphony, following rival. Bruckner did have his admirers, more confident handling of large-scale two trial efforts that the composer chose but most of them were young musicians orchestral composition. With his Fifth, to suppress). Henceforth the orchestra, with little standing in Vienna’s musical Bruckner arrived at full maturity as a rather than the organ or voices, became establishment. (In addition to Hugo Wolf, symphonist, at a plateau of mastery the favored vehicle for his compositional the teenaged Gustav Mahler became an from which he would henceforth ambitions. ardent supporter.) As a result, Bruckner’s execute all his compositions. symphonies received few performances Interestingly, a very different personality, through the early 1880s, and these usually ANTON BRUCKNER one entirely unlike the one their author were meagerly prepared, poorly played showed the world in everyday life, and badly received. Only through sheer Symphony No. 5 in B-flat major, emerged in the symphonies Bruckner fortitude and faith in his artistic precepts WAB 105 now set about writing. These works are, did Bruckner continue to compose and without exception, compositions of heroic eventually see some measure of the stature, a quality one would hardly predict appreciation his music now enjoys. BORN: September 4, 1824, in Ansfelden, near from their author’s otherwise pedantic, Linz, Austria self-critical and retiring demeanor. Their The Fifth Symphony dates from the years DIED: October 11, 1896, in Vienna imposing scale, the bold themes from 1875–76, a period when Bruckner, now WORK COMPOSED: 1875–76 which they are built, the ambitious past the age of 50, was earning a meager WORLD PREMIERE: April 8, 1894, in Graz, development of those themes and their existence as a teacher in Vienna. Sadly Austria, conducted by Franz Schalk powerful orchestration create a sense — and ironically, in view of the work’s of grandeur and drama equaled by few importance in his development — the Anton Bruckner’s life and music present works of their kind. It was these qualities composer never heard it performed. Like an intriguing set of contradictions. In all that moved Hugo Wolf, a perceptive critic most of his symphonies, it was pronounced appearances, the composer cut a figure as well as an important composer, to incomprehensible and unplayable by far removed from the 19th-century ideal of declare that “the symphonies of Bruckner many musicians of his day. Its premiere the artist as Romantic hero. A humble man are the most important symphonic took place in 1894, when it was performed of humble origins and means, Bruckner creations that have been written since in the Austrian city of Graz under the passed the initial part of his life in a small Beethoven.” direction of the composer’s student and village in Upper Austria. His first ambition devoted champion Franz Schalk. Bruckner, was to become a schoolmaster, and he Wolf’s opinion was not universally shared suffering from illness, was unable attend spent the early part of his career as a during Bruckner’s lifetime, and the the concert. Perhaps it was just as well provincial teacher and church organist. composer found himself at the center that he did not, since Schalk performed a Modest and self-effacing, diffident toward of a critical storm that raged chiefly in version of the symphony with substantial anyone who might be considered a Vienna. Those musicians most loyal to the cuts and a revised orchestration of his superior, he spoke and dressed plainly, latter-day classicism of Brahms, who still own devising. Subsequent editors have and his personal habits, like his religious lived in the Austrian capital and dominated restored the score in accordance with the and political views, were unfashionably its musical life to a considerable extent, composer’s manuscript. conservative. Socially awkward, he found Bruckner’s massive symphonic never married; the closest he seems to architecture either incomprehensible or WHAT TO LISTEN FOR: The Fifth is the only have come to any romantic liaison were simply off-putting. Eduard Hanslick, the one of Bruckner’s nine symphonies to several misconceived marriage proposals powerful critic of the Vienna Neue freie begin with an introduction in slow tempo. tendered to girls far too young for him. Presse, saw in Bruckner “the greatest Here the prefatory passage outlines living musical peril, a sort of tonal Satan,” several themes that will prove important Even his approach to music seems, in a man who “composes like a drunkard.” as the work unfolds. The composer begins certain respects, staid and cautious, Hans von Bülow, the famed pianist and quietly with a “walking bass” figure played reflecting an apparent insecurity that conductor (and a loyal Brahms acolyte), pizzicato by the cellos and basses. To this permeated many spheres of his life. judged Bruckner’s symphonies to be “the Bruckner adds sustained contrapuntal lines. Bruckner continued formal studies of anti-musical ravings of a half-wit.” harmony, fugue and musical form until he Here the principal theme is announced by was nearly 40, apparently unable to trust It did not help that Bruckner utterly lacked the violas and cellos beneath an expectant, in the sufficiency of his already plentiful the temperament and guile to advance tremulous note high in the violins. Bruckner training. His first works were choral pieces his cause in the highly politicized world elaborates this melody at some length

24 SEATTLESYMPHONY.ORG SEATTLE YOUTH SYMPHONY ORCHESTRA before presenting a contrasting second subject, an expressive melodic line for the violins against a counter-melody plucked out by the low strings. A more vigorous third theme follows. The movement’s central development episode commences with brief recollections of the slow introduction but soon returns to the main section’s principal theme, which is treated with Bruckner’s considerable contrapuntal skill.

Bruckner’s expansive symphonic structures demanded special measures to assure a sense of unity and formal cohesion. The recurrence of motifs from the introduction provide this within the first movement. In the middle of the symphony, Bruckner fashions similar thematic connections between the second and third movements. The former, a flowingAdagio , has as its principal theme a broad melody set forth by the oboe against (once again) a steady pizzicato figure in the strings. The third movement, a rustic Scherzo, begins in a much faster tempo, but with the same pizzicato notes that had opened the Adagio. Moreover, it goes on to make prominent use of the descending series of wide intervals that had characterized the oboe theme of the preceding movement.

Thematic linkage is also an important feature of the Finale. Like the last movement of Beethoven’s Ninth Symphony, this portion of the work begins by recalling themes presented earlier in the composition. The recollections are punctuated by short interjections from trumpet and then clarinet. Their shared melodic figure soon forms the subject for an energetic fugal passage — that is, one built intricately on echoic counterpoint. Both devices (the recollection of earlier material to tie up the diverse strands of the symphony and the use of elaborate contrapuntal artifice) prove central to this movement. Different melodies are artfully combined, and the symphony reaches its climax in a magnificent double fugue on the main themes of the first and last movements. The return of a chorale melody introduced earlier in the finale crowns both this movement and the composition as a whole. Scored for pairs of woodwinds; 4 horns; SUNDAY, APRIL 30 3 trumpets; 3 trombones; tuba; timpani; strings. BENAROYA HALL | TICKETS: SYSO.ORG

encoreartsseattle.com 25 PROGRAM NOTES Monday, April 24, 2017, at 7:30pm

WOLFGANG AMADEUS LEIF OVE ANDSNES MOZART Larghetto and Allegro in E-flat major & MARC-ANDRÉ KV deest

HAMELIN IN RECITAL BORN: January 27, 1756, in Salzburg DISTINGUISHED ARTIST SERIES DIED: December 5, 1791, in Vienna WORK COMPOSED: completed posthumously by Leif Ove Andsnes, piano Ferdinand Beyer Marc-André Hamelin, piano During the final decade of his life, spent WOLFGANG AMADEUS MOZART Larghetto and Allegro in E-flat major, 9’ in Vienna, Mozart composed many works KV deest for the keyboard. Much of it was for public consumption, especially his miraculous IGOR STRAVINSKY Concerto for Two Pianos 20’ run of piano concertos. Another part of his Con moto pianistic output was aimed at amateurs, Notturno: Adagietto often for didactic purposes. Despite the Quattro variazioni composer’s reputation for a lack of financial Preludio e fuga acumen he realized that people would not buy music they couldn’t play; ergo, much of INTERMISSION his solo piano music is within the grasp of musicians whose passion was not matched CLAUDE DEBUSSY En blanc et noir, L. 134 15’ by professional-level ability. He wrote a fair Avec emportement amount of facile four-hand/one piano music, Lent: Sombre largely as an adjunct to his teaching of young Scherzando students. IGOR STRAVINSKY The Rite of Spring for Two Pianos 33’ The mere handful of works he produced for Part I: Adoration of the Earth two pianos was of an entirely different order. Introduction: Lento, tempo rubato Designed for professional performance, The Augurs of Spring: Tempo giusto these pieces were therefore correspondingly Game of Abduction: Presto more challenging than his home-use piano Spring Rounds: Tranquillo music. One such gem is the Sonata for Two Games of the Rival Clans: Molto allegro Pianos in D major, K. 448, written during his Procession of the Wise Elder: Lento first year in Vienna. Among other unfinished Adoration of the Earth Dance of the Earth: Prestissimo works for two pianos is the attractive and buoyant Larghetto and Allegro, KV deest. Part II: The Sacrifice (“Deest” means not included in a composer’s Introduction: Largo catalogue). Mysterious Circle of the Young Girls: Andante con moto Mozart began working on this two-part Glorification of the Chosen Victim: Vivo composition in 1782 or ’83. After his death, it Evocation of the Ancients fell to Maximilian Stadler (1748–1833) to take Ritual of the Ancients: Lento charge of settling Mozart’s estate, one of his Sacrificial Dance responsibilities as head of the Imperial Music Archive. Stadler completed the piece, though it was another composer/pianist, Ferdinand Leif Ove Andsnes’ performance is generously underwritten by Eric and Margaret Rothchild Beyer (1803–63), whose subsequent through the Seattle Symphony’s Guest Artists Circle. completion is the version we hear in tonight’s two-piano recital.

The very brief and cantabile Larghetto serves as an introduction to the longer and Please note that the timings provided for this concert are approximate. considerably vivacious Allegro — though the Please turn off all electronic devices and refrain from taking photos or video. entire work clocks in at under ten minutes Performance ©2017 Seattle Symphony. Copying of any performance by camera, audio or video recording — which is more inventive and varied in equipment, and any other use of such copying devices during a performance is prohibited. mood and textural changes. Rapid scales, harmonically rich chords and striking unison

26 SEATTLESYMPHONY.ORG Marked Con moto, the energetic first notorious first performance of Stravinsky’s PROGRAM NOTES movement parallels Prokofiev’s frequent Le Sacre du printemps. (Perhaps that is why toccatas in his piano sonatas and Jeux failed to catch on until the past 20 years elsewhere. Harmonic up and down scales, or so.) In 1915 the composer wrote that the crisp acerbic dissonances spice up the urge to create had returned; one of the first passagework add interest and bear a close neo-classic harmony. One hears echoes of unalloyed gems to be borne in this spirit of familial resemblance to the aforementioned Stravinsky’s on-again-off-again flirtation with renewal was En blanc et noir (“In white and Sonata, K. 448. Beyer’s diligence and jazz as well as the bitonality of Petrushka. black”). sensitivity are laudable, though one can still wonder how Mozart would have brought The ensuing Notturno offers balanced The opening movement, Avec emportement this aborted essay to fruition. Still, on its own contrast. An easygoing introduction is (“with quick anger”) is driven, even frenetic, terms, we are grateful that Beyer saved the followed by extensive and extended trills and may serve as a kind of venting of feeling music from ignominy. at the service of gently rocking lyricism. deriving from both the ravages of his illness Unforced playfulness — clearly redolent of and the raging horrors of World War I. The IGOR STRAVINSKY Poulenc’s urbanity and wit — reinforces the ensuing movement, Lent: Sombre, dedicated movement’s departure from the feverish to the memory of a French officer “killed by Concerto for Two Pianos quality of the opening Con moto. the enemy,” pungently reflects Debussy’s anti- German sympathies hammered home in a The brief Quattro variazioni open with parodistic reference to Luther’s famous hymn, BORN: June 17, 1882, in Oranienbaum, Russia (perhaps surprisingly) a middle range “A Mighty Fortress is Our God.” Debussy DIED: April 6, 1971, in New York City plangency that hints at Brahmsian somber dedicated the vivacious and rhythmically WORK COMPOSED: 1932; revised 1935 colors, piqued by distinctly un-Brahmsian irregular finale,Scherzando , “à mon ami Igor WORLD PREMIERE: November 21, 1935, at teasing. The second variation surges Strawinsky.” the Salle Gaveau in Paris, by Igor and Soulima forward with furious virtuosity that could Stravinsky. easily be heard as Stravinsky’s update IGOR STRAVINSKY on Liszt’s dynamic pianism and writing. World War I caused a collective shuddering of The penultimate variant is a skittish affair The Rite of Spring for Two Pianos the soul throughout the world. The attendant with rapidly descending chromatic scale horrors — trench warfare, poison gas, fragments punctuated by terse chords BORN: June 17, 1882, in Oranienbaum, Russia mechanized weapons of destruction — set in and punchy individual notes. The fourth DIED: April 6, 1971, in New York City motion a wave of revulsion and a profound variation starts with an ongoing sequence questioning of traditional religious and secular of chords soon interrupted by pounding ORCHESTRAL VERSION COMPOSED: 1913 ethical values. A yearning for the alleged dissonances before slowing the pace and ORCHESTRAL VERSION PREMIERE: May 29, 1913, sanity of the past sent many artists scurrying lowering the dynamics. in Paris, Pierre Monteux conducting backward in time, including Igor Stravinsky. TWO-PIANO VERSION PREMIERE: November 6, If the violent “primitivism” (the composer’s A Preludio e fuga draws the work to a 1967, Monday Evening Concerts in Los Angeles, term) of his landmark 1913 Sacre de printemps close. The Preludio sets forth quietly before Michael Tilson Thomas and Ralph Grierson pianists celebrated excess and revolutionary fervor, increasing in fervor. Stravinsky was quite Stravinsky’s post-war adoption of neo- taken with the fugue, herein populated For financial and practical reasons, rehearsals classicism defined his compositional style until with Prokofiev-like repeated notes. Some for ballet (and opera) performances generally Arnold Schoenberg’s death in 1951. commentators have noted a resemblance utilize piano reductions of the orchestrally to the theme in the finale of Beethoven’s accompanied final versions. Stravinsky The 1920s also saw the composer turning Op. 110 piano sonata. created four-hand piano scores for all of his toward performance, as both pianist and ballets, including The Rite of Spring. These conductor, of his own music. In the 1930s, CLAUDE DEBUSSY arrangements were not intended to serve his talented son Soulima joined him in that as actual concert pieces, and for decades En blanc et noir, L. 134 endeavor. In 1932 the composer began following a private reading by Stravinsky and work on his Concerto for Two Pianos, Claude Debussy in the spring of 1912, the four- revising it three years later. Like in Bach’s BORN: August 22, 1862 in St. Germain-en-Laye, hand score received no public performances “Italian” Concerto for solo keyboard, there France according to the composer. Following the long is no orchestra to partner the keyboards in deferred “premiere” by Tilson Thomas and DIED: March 25, 1918, in Paris Stravinsky’s Concerto. (Bach’s piece uses Grierson in 1967 other pianistic twosomes have WORK COMPOSED: 1915 the one instrument to convey a sense of added the bracing landmark two-piano score WORLD PREMIERE: December 2, 1915, in Paris, a solo instrument in the right hand and to the four-hand literature. the “accompaniment” by the left hand.) Debussy and Louis Aubert pianists in private Perhaps suspecting that audiences might not performance; first public performance, December While still at work on The Firebird in 1910, understand his nomenclature, Stravinsky’s 21, 1916, Debussy and Jean Roger-Ducasse Stravinsky began thinking of a new ballet pre-concert talk focused on the term’s pianists. scenario based on a pagan ritual in which tribal Latin/Italian derivation of “concerto” from elders sitting in a large circle watch a young “concertare,” which carries the double After Debussy was diagnosed in 1909 with maiden dance herself to death. Stravinsky meaning of both fightingagainst and fighting the cancer that would eventually prove secured help in devising the scenario from side by side, which does, of course, reflect fatal, he went into a compositional hiatus for his archeologist friend Nicholas Roerich, and the battle of solo against orchestra while also several years. His orchestral masterpiece wrote, “What I was trying to convey in The conveying the two entities as protagonists in Jeux premiered in 1913 within weeks of the Rite was the surge of spring, the magnificent common cause.

encoreartsseattle.com 27 LEIF OVE ANDSNES MARC-ANDRÉ HAMELIN PROGRAM Piano Piano continued NOTES The New York Times Marc-André Hamelin is calls Norwegian pianist ranked among the elite Leif Ove Andsnes “a of world pianists for his upsurge of nature reborn.” As he worked on pianist of magisterial unrivaled blend of the nascent score he came to realize that elegance, power, and musicianship and this new piece marked a significant stylistic insight,” and The Wall virtuosity in the great change from the overt Romanticism of The Street Journal “one of works of the Firebird and incipient bitonality of Petrushka, the most gifted established repertoire, Photo: Fran Kaufman Fran Photo: claiming later that he was guided by no musicians of his as well as for his system whatever in The Rite of Spring. The generation.” He has won international intrepid exploration of the rarities of the celebrated riotous reception accorded the acclaim, playing recitals and concertos in 19th and 20th centuries. Born in Montreal ballet at its 1913 premiere suggests that this the world’s leading concert halls, with its and a resident of Boston, Marc-André was indeed a new work, utilizing a harmonic foremost orchestras. Also an active Hamelin is the recipient of a lifetime vocabulary and rhythmic aggressiveness. recording artist and avid chamber achievement award from the German musician, he is the founding director of the Record Critic’s Association. Having set to Part I: The Adoration of the Earth, unfolds in Rosendal Chamber Music Festival, was disc more than 70 titles, Hamelin records seven unbroken sections beginning with an co-artistic director of the Risør Festival of exclusively for Hyperion Records, and his Introduction intoning a Lithuanian folk tune, Chamber Music for nearly two decades most recent releases are the Franck Piano the only borrowed theme in the score. The and served as music director of California’s Quintet with the Takács Quartet and the Augurs of Spring follows immediately as if 2012 Ojai Music Festival. He was inducted Ornstein Piano Quintet with the Pacifica shot from a cannon, its abrasive polytonal into the Gramophone Hall of Fame in 2013, Quartet. He is an Officer of the Order of chord and asymmetrical rhythms a veritable and received an honorary doctorate from Canada, a Chevalier de l’Ordre du Québec battle cry of modernity. Though much is made New York’s Juilliard School in 2016. and a member of the Royal Society of of The Rite’s harmonic daring, it is truly in Andsnes now records exclusively for Sony Canada. In the current season Hamelin its lacerating rhythms that the music is most Classical. His earlier discography performs across North America, Asia and startlingly innovative. comprises more than 30 discs for EMI Europe in prestigious concert halls Classics — solo, chamber and concerto including Carnegie Hall, the 92nd Street Y, The Game of Abduction heightens the frenzy releases, many of them bestsellers — Wigmore Hall, the Berliner Philharmonie already established in The Augurs of Spring, spanning repertoire from Bach to the and Chicago’s Symphony Hall. then gives way to Spring Rounds — based present day. on a four-note snippet of a theme — which FROM THE ARTIST: begins tranquilly before turning rambunctious. FROM THE ARTIST: “I first played with Leif Ove Andsnes back Another short theme informs the Games “I first performedThe Rite of Spring in in 2009, when I had the great pleasure to of the Rival Clans. A stark new theme in 2009, also with Marc-André Hamelin. I did be invited by him to his chamber music Procession of the Wise Elder announces not expect it to be so exciting to perform festival in Risør, Norway. At the time, he the arrival of the tribal elders. Striking in its this piece on two pianos — it is such an was Music Director of the Risør Chamber contrast, the Adoration of the Earth (The Wise orchestra piece, with the most fabulous Music Festival. That’s where we first Man) consists of four measures of barely orchestration, but you really experience performed The Rite of Spring, and since audible otherworldly harmonies. The first different aspects of it on two pianos. The then we’ve done it around ten or twelve section concludes at fever pitch in Dance of rhythmic patterns become very precise, times. Over time, the idea of recording and the Earth, its impact relentlessly hammered and the harmonies, which can sometimes a tour gradually took shape; by the time by aggressive sonorities in the pianos’ nether be blurred in the larger orchestration, we perform in Seattle we will already have regions in four-against-three rhythm. become so clear. I’ve been surprised how recorded an all-Stravinsky CD for Hyperion the piano version moves me in a different Records. The Seattle appearance is part Part II: The Sacrifice, begins slowly and sort of way from the orchestral version — it of a 13-concert tour of both the U.S. and quietly, its inchoate thematic material finding is terribly exciting to play, just as it is to Europe; I look forward to it immensely! fuller expression in the following Mysterious listen to it. It’s very rewarding to be able Needless to say, it’ll also be fantastic to be Circle of the Young Girls. A series of eleven to connect with another person onstage, back playing in Benaroya Hall, which I’ve thudding chords initiates the Glorification of just as it’s rewarding to connect with 70 always loved.” the Chosen Victim with Banshee-like wailing people in an orchestra. When you connect and electric ostinatos. At the same tempo, the in a deep way through the music, this Evocation of the Ancients ushers in powerful always comes through to the audience. If swells that alternate with strident fanfares. you love a piece, you really want to share Starting quietly, the concluding Sacrificial it with the other performer as well as with Dance — its time signature changing 154 the audience and that truly is the greatest times in 275 measures — builds to a moment thing about performing onstage.” of near violent ecstasy, and ends with the death of the maiden in a (tongue in cheek?) dominant-tonic cadence.

28 SEATTLESYMPHONY.ORG SAVE THE DATE! WEDNESDAY, MAY 10, 2017 GIVE

BIGMake a gift to the SEATTLE SYMPHONY on May 10, 2017 and join the caring family of donors who bring our music to life. One BIG day to support the concerts and musicians you love!

seattlesymphony.org/givebig | [email protected] | 206.215.4832

Thursday, April 27, 2017, at 7:30pm Saturday, April 29, 2017, at 8pm TCHAIKOVSKY PIANO CONCERTO NO. 1 Foster Pepper is proud to

Christoph König, conductor support the George Li, piano Seattle Symphony SEATTLE ALEXANDER ZEMLINSKY Die Seejungfrau (“The Mermaid”): 47’ Symphonic Fantasy after SYMPHONY Hans Christian Andersen Sehr mässig bewegt and its mission to Sehr bewegt, rauschend Sehr gedehnt, mit schmerzvollem Ausdruck unleash the power of music, bring people INTERMISSION together and lift the PIOTR ILYICH TCHAIKOVSKY Piano Concerto No. 1 in B-flat minor, Op. 23 33’ human spirit. Allegro non troppo e molto maestoso— Allegro con spirito Andantino semplice—Prestissimo We hope you enjoy Allegro con fuoco GEORGE LI, PIANO Tchaikovsky Piano Concerto No.1 Pre-concert Talk one hour prior to performance. Speaker: Lisa Maria d’Aquila, Music Instructor and Lecturer

George Li’s performances are generously underwritten by Andrew Bertino-Reibstein, in memory of David Reibstein, through the Seattle Symphony’s Guest Artists Circle. Thursday performance sponsored by Foster Pepper PLLC.

Please note that the timings provided for this concert are approximate. Please turn off all electronic devices and refrain from taking photos or video. SEATTLE | SPOKANE 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

Rescued from Oblivion inadequate. Over the course of his career half of the 20th century, and who credited he wrote six novels, an autobiography, Zemlinsky for “most of my knowledge of History sometimes treats musicians more than a thousand poems, numerous the technique ... of composing.” Another unfairly, casting into obscurity some who deserve better. One such victim plays, travelogues and essays, all in student was a young woman named Alma is Alexander Zemlinsky. Born in 1871, addition to the works for which he is most Schindler. A fine musician and strikingly he was a skilled and often inspired famous, his more than 200 fairy tales. beautiful, Alma captured Zemlinsky’s heart. composer whose music was much Even so, the Danish writer was well aware She, alas, had her sights set higher and admired by his colleagues. Arnold of music’s unique power to express what soon married the famous and charismatic Schoenberg, himself one of the most words cannot. One suspects, therefore, that Mahler, but not before Mahler encouraged important musicians of the 20th century, he would have approved the composition Zemlinsky to take up conducting. wrote of Zemlinsky, “I have always that opens our program, Alexander thought, and still believe, that he was a Zemlinsky’s lush symphonic poem Die Zemlinsky proved himself a more than great composer.” Seejungfrau, or The Mermaid, which takes capable conductor, especially of opera, and Schoenberg penned that tribute in its subject and inspiration from one of the keen musicianship he brought to this 1949. Seven years earlier, Zemlinsky Andersen’s fairy tales. work won him engagements throughout had died exiled, impoverished and Europe. In 1911 he became director of the forgotten in New York. For nearly a That story (Den lille havfrue, or The Little major opera company in Prague. There decade before that, his music had been Mermaid) tells of its title character’s he achieved performances of legendary banned by the Nazis, a prohibition that love for a human prince she saves from beauty. Igor Stravinsky, reminiscing in his eventually covered most of Europe. It drowning after a shipwreck. So powerful old age, recalled: “I remember a Marriage never recovered the respect and interest are her feelings for him that she is willing of Figaro conducted by him [Zemlinsky] it once enjoyed, and it lingers today to undergo a painful transformation to in Prague as the most satisfying operatic only on the fringes of the orchestral become human. This however comes experience of my life.” and operatic repertories. Schoenberg predicted that it would one day with a fatal condition: if her true love does gain the appreciation it deserves. If not return her affection, she must die. All the while Zemlinsky continued to Zemlinsky’s three-movement tone poem The beauty and graceful dancing of the compose. Though he surely would have The Mermaid is any indication, that day mermaid in her human form appeal to the been more prolific if not for his conducting is long overdue. prince, but he elects to marry a princess duties, he nevertheless produced a he erroneously believes had pulled him substantial body of music: four string The second half of our program brings from the sea. Heartbroken, the mermaid is quartets and various other chamber pieces, a popular masterpiece that might on the verge of perishing when the witch some half a dozen symphonic works, a have not even seen the light of day. who had changed her into a woman offers ballet, choral compositions and many Astonishing as it seems, in view of the an escape: if she kills the prince, she will songs. But his foremost ambition rested favor it has long enjoyed with audiences everywhere, Piotr Tchaikovsky’s First revert to her original state and live out her with opera. “I am a man of the theater,” Piano Concerto was savaged by a life beneath the waves. But the mermaid Zemlinsky once declared, and the seven famed and imperious pianist to whom cannot bring herself to harm her beloved. operas he completed constitute the core of the composer first showed the work. This tenderness of heart saves her. Instead his output. Tchaikovsky might have immediately of dying, she is transformed into an ethereal tossed his score into a fireplace. Happily, spirit of the air. Unfortunately, Zemlinsky’s music had little he had enough faith in the composition, chance to establish itself in the repertories and in himself, not to take that Zemlinsky was among the outstanding of either orchestras or opera companies, drastic step. musicians active at the end of the 19th for its author was one of the first musicians century and during the first decades of whose work was proscribed by the Nazis ALEXANDER ZEMLINSKY the 20th. Born in Vienna, he distinguished — first in Germany, later in Austria and himself as a student at the city’s music finally throughout Europe. Fleeing first Die Seejungfrau (“The Mermaid”): conservatory and soon attracted the Berlin and then Vienna, Zemlinsky found Symphonic Fantasy after Hans attention of Brahms, who offered advice refuge in New York but was unable to Christian Andersen and encouragement to a degree he rarely secure work. He died there, practically bestowed on a young composer. Later penniless and unknown, in 1942. A few BORN: October 14, 1871, in Vienna Zemlinsky became intimate with Gustav musicians, especially Schoenberg, spoke DIED: March 15, 1942, in Larchmont, NY Mahler. He was frequently a guest in admiringly of him, but there was no post- Mahler’s home and seems to have been War Zemlinsky revival, as there would be WORK COMPOSED: 1901–03 one of the few musicians to enjoy anything for Mahler. Recently, however, Zemlinsky’s WORLD PREMIERE: January 25, 1905, in like a real friendship with the difficult and music has been recorded and performed Vienna, conducted by the composer self-absorbed composer and conductor. with increasing frequency. It may yet find a permanent place in the general orchestral “Where words fail, music often speaks.” At first, Zemlinsky supported himself by repertory. teaching. Among his pupils was Arnold The author of that observation, Hans Schoenberg, who would become one of Zemlinsky composed The Mermaid in Christian Andersen, rarely found words the most important composers of the first 1902–03, though he probably had begun

encoreartsseattle.com 31 Photo: Brandon Patoc Brandon Photo:

“Growing up our house was always full of music. Supporting the Symphony helps me feel a connection to my father, as a love for music is something that brought us together. I’m very fortunate to have been surrounded by great music, so I’m honored to contribute to that here in Seattle. There’s nothing quite like hearing a piece of music that you love performed live in front of you.” – Andrew, with fiancée and fellow Symphony-fan Meghan Learn more about Andrew’s Symphony story at seattlesymphony.org/stories.

JOIN ANDREW AND MEGHAN BY MAKING YOUR GIFT FOR SYMPHONIC MUSIC TODAY! Concerts like the one you are about to enjoy are only possible through the support of generous music-lovers like you.

SEATTLESYMPHONY.ORG/GIVE | 206.215.4832 PROGRAM NOTES continued

drafting the work a year earlier. This cautious first steps on land. Quickly, through to the end. Still silence. I stood was not long after Alma Schindler had though, the music moves to a bright and asked, “Well?” Then a torrent rejected him in favor of Mahler, and one tempo as she enchants the prince with of vitriol poured from [Rubinstein’s] can imagine the resonance Andersen’s her dancing. This happy interlude ends mouth. My concerto was unplayable story had for the disappointed Zemlinsky. as he chooses the princess for his bride. and worthless; passages were so Indeed, Antony Beaumont, author of Reflecting the mermaid’s emotions, the clumsy, so fragmented and badly the essential life-and-works study of the music turns vehement, melancholy and written as to be beyond rescue; the composer, posits that Zemlinsky wrote anguished, with the love theme’s signature whole was vulgar and badly written ... this tone-poem as part of a process of four-note motif sounding repeatedly. A Any uninformed person hearing this psychological recovery from the pain of searing climax leads to a return of the would have concluded that I was a losing Alma. (Beaumont is also the editor lugubrious sea-witch music, but in a senseless, talentless fool who had the of a new edition of The Mermaid, which hushed passage for strings alone the impertinence to submit his scribblings to is used this evening. It restores music mermaid resolves not to save herself by a great musician. that had been omitted from the previous killing the prince. The music turns warm publication and only recently came to and radiant as she is transformed by love Speechless with rage and agitation, light.) into a spirit of the air. the composer stormed from the room. Rubinstein followed and tempered his Whether or not one accepts Beaumont’s Scored for 4 flutes, flute 3 and 4 doubling criticism. If certain changes could be made, psycho-biographical view of the music is piccolo; 2 oboes and English horn; 2 he said, he would perform the concerto. of little import, for The Mermaid is beautiful clarinets, E-flat clarinet and bass clarinet; Most of the work would need to be and moving on its own terms. Zemlinsky’s 3 bassoons; 6 horns; 3 trumpets; 4 rewritten, but it was not entirely hopeless. late-Romantic idiom is vividly expressive trombones; tuba; timpani and percussion; Tchaikovsky, whose correspondence and ravishing in its harmonies and 2 harps; strings. and diary reveal endless self-doubts orchestration. concerning his own abilities, might easily have accepted this suggestion from one of PIOTR ILYICH TCHAIKOVSKY WHAT TO LISTEN FOR: The opening the most respected musicians of the time. moments evoke the ocean depths in Piano Concerto No. 1 in B-flat minor, Instead, he stood his ground and defiantly sustained, low-pitched tones. Soon, Op. 23 declared that he would not alter a single brighter figures in the woodwinds suggest note. He withdrew his dedication of the the swimming and play of mermaids. An score to Rubinstein and offered it instead BORN: May 7, 1840, in Kamsko-Votkins, Russia arching melody for solo violin gives us to the Hans von Bülow. DIED: glimpses of the mermaid at the center November 6, 1893, in Saint Petersburg of the story. Zemlinsky uses a more fully WORK COMPOSED: 1874 A celebrated German pianist and scored version of this theme to intimate WORLD PREMIERE: October 25, 1875, in conductor, Bülow gladly accepted her feelings upon viewing the prince Boston. Hans von Bülow played the solo part the opportunity to play the premiere onboard his ship. But with wildly agitated with the Boston Symphony Orchestra. performance in Boston, in October 1875. music the storm breaks out. An abrupt On this and subsequent occasions the pause leads to rapt music as the mermaid The history of music is replete with concerto won overwhelming approval, and takes the prince in her arms, but the storm accounts of works that have been it remains among the most widely known swells again. Pulling him to shore, she thoroughly misunderstood on first hearing. and favored works in the repertory for gazes lovingly as he lies unconscious Rarely, however, has a composition that piano and orchestra. Ironically, one of its on the sand, and we hear, in exquisitely now enjoys nearly universal popularity early champions was Nikolai Rubinstein, delicate scoring, a four-note idea that will been greeted with such scathing who admitted that his initial estimate of prove to be the start of a love theme. condemnation as Tchaikovsky’s First the concerto was mistaken, and whose Piano Concerto received on Christmas performances of it drew praise from The second movement begins with a Eve 1874. Tchaikovsky had composed Tchaikovsky. shimmering seascape and, moments later, this work during the preceding month but music of joyous energy. This and a waltz wished to solicit the opinion of an expert WHAT TO LISTEN FOR: The concerto’s theme introduced by the cellos indicate pianist regarding the feasibility of certain famous opening passage, with its a party hosted by the mermaid’s father. passages before committing it to print. His memorable theme accompanied by But as the festivities reach a height, the choice was Nikolai Rubinstein, the greatest crashing chords from the piano, is actually music suddenly grows quiet and spooky Russian keyboard virtuoso of the day, an introduction to the first movement’s as the mermaid seeks out a sea-witch. In a who met Tchaikovsky before a Christmas true principal subject, which is based on fervent episode, the mermaid reveals her party to hear the concerto. The composer a Ukrainian folk song. In contrast to the desire to become human. The music of the described the outcome of this audience as robust vigor of this idea, the two themes festival resumes, but now punctuated by follows: that follow tap the vein of lyricism that was the mermaid’s passionate pleas. such a conspicuous part of Tchaikovsky’s I played the first movement. Not a talent. During the third movement’s slow word, not a single remark ... I fortified introduction, the mermaid takes her myself with patience and played

encoreartsseattle.com 33 CHRISTOPH KÖNIG GEORGE LI PROGRAM Conductor Piano continued NOTES Christoph König is Praised by the currently Principal Washington Post for Conductor & Music combining “staggering The middle movement offers a pair of Director of the Solistes technical prowess, a moods and tempos. It begins with a Européens sense of command warmly romantic subject sung by the flute Luxembourg and and depth of to a gentle accompaniment of plucked Principal Guest expression,” pianist strings. The piano takes up this theme, but Conductor of the Real George Li possesses Photo: Pedro Lobo Pedro Photo: Christian Steiner Photo: its consideration of the melody leads to Filharmonia de Galicia. brilliant virtuosity and a change in tempo and a new, dance-like He has previously served as Principal effortless grace far beyond his years. He subject, one that actually derives from a Guest Conductor of the Orquestra captured the Silver Medal at the 2015 popular French song. A return to the initial Sinfónica do Porto Casa da Música from International Tchaikovsky Competition and material rounds the movement into a clear 2009 until 2014. Celebrated for his clarity, was the recipient of the 2016 Avery Fisher A–B–A format. precision and elegant approach, König is Career Grant. Among Li’s many prizes, he in high demand as a guest conductor in was the First Prize winner of the 2010 The finale once again has the flavor of North America and abroad. Since his 2010 Young Concert Artists International Ukrainian folk music, a quality imparted by debut in the U.S., he has conducted the Auditions and the 2012 Gilmore Young its main subject. Countering it is a second Baltimore Symphony, Chicago Symphony Artist Award. George Li gave his first theme that provides yet another instance Orchestra at Grant Park, Cincinnati public performance at Boston’s Steinway of the kind of intense lyricism at which Symphony, Houston Symphony, Hall at the age of 10 and in 2011 performed the composer excelled. Tchaikovsky’s Indianapolis Symphony, Los Angeles for President Obama at the White House development of both ideas is highly Philharmonic, Milwaukee Symphony, in an evening honoring Chancellor Angela energetic and calls forth displays of Oregon Symphony, Pittsburgh Symphony, Merkel. Li is currently in the Harvard brilliant passagework from the soloist. Toronto Symphony and Vancouver University/New England Conservatory Symphony. Engagements abroad include joint program, studying with Wha Kyung Scored for solo piano; pairs of woodwinds; the BBC National Orchestra of Wales, Byun. 4 horns; 2 trumpets; 3 trombones; timpani Beethoven Orchester Bonn, Danish and strings. National Symphony, Deutsche Radio FROM THE ARTIST: Phiharmonie Saarbrücken, Dresden “My connection with Seattle is a new and © 2017 Paul Schiavo Philharmonic, Malaysia Philharmonic, recent one that I formed over the past Mozarteum Orchestra Salzburg, year, but it already is one of my favorite Norwegian Radio Orchestra, Orchestre de cities to travel to! Beforehand, I had Paris, Radio Orchestra (RTVE) in Madrid, college friends who were from Seattle, Royal Philharmonic Orchestra, and they were constantly raving about Staatskapelle Dresden and the BBC it. The only time I went was to play at Scottish Symphony Orchestra, whom he the Seattle Chamber Music Festival for led on a highly successful tour of China a week, and it was one of the most fun (2008). König will debut in the current and fulfilling weeks ever. I just love the season with Bremer Philharmoniker and hills, the parks and the green nature Fort Worth Symphony Orchestra. that overwhelms the city. My story with Maestro Morlot was even more recent FROM THE ARTIST: and coincidental. I recently played with I truly believe music is all about the Kansas City Symphony in January, communication. When it comes to and about a week or two before the performing with a symphony orchestra, concerts I was notified that the original one of the nicest things is the nonverbal conductor had cancelled, and that communication between orchestra Maestro Morlot would be replacing him. and conductor, between the musicians It was a memorable experience playing themselves, and between orchestra/ with him, as he is such a great and flexible conductor and the public. The first time I musician, and I felt that we had a very came across Zemlinsky’s Die Seejungfrau strong chemistry working together. I hope was as a student when we studied it to work again with him soon!” first in the conducting seminar and then performed it with the university orchestra. It was one of my most intense and profound experiences at the beginning of my musical career and I will most certainly never forget it. I believe there is something truly magic about the piece which I find difficult to explain.

34 SEATTLESYMPHONY.ORG PROGRAM NOTES Friday, April 28, 2017, at 10pm

Paul Moravec (b. 1957) composes colorful, [UNTITLED] 3 nuanced works that are as satisfying to [UNTITLED] SERIES play as they are to hear, earning him a particularly loyal following among this country’s elite performers. He gained PAUL MORAVEC Andy Warhol Sez 10’ broader recognition when he won the Deeply Superficial 2004 Pulitzer Prize for , = 72 Tempest Fantasy Andimated one of many chamber music gems in his Pesante catalogue. For all his extensive training = 144 at Harvard and Columbia universities, Agreeably mechanical Moravec bucked the orthodoxy of his = 80 generation that sought ever more obscure SETH KRIMSKY, BASSOON and rigorous methods of composition. CRISTINA VALDÉS, PIANO Instead his music seems to focus on what it is communicating, not how. “What I can do,” YANNIS KYRIAKIDES Tinkling or killing time in an airport lounge 16’ Moravec explained in a recent interview (and being arrested) with New Music Box, “is to capture and PABLO RUS BROSETA, CONDUCTOR project emotion: joy, sadness, the whole CRISTINA VALDÉS, PIANO range of human emotion. Whether or not JEFFREY BARKER, FLUTE & PICCOLO you as an individual listener receives it in LAURA DELUCA, CLARINET that way or understands what I’m saying, KO-ICHIRO YAMAMOTO, TROMBONE that’s a whole other matter, but that’s what ROB TUCKER, PERCUSSION I’m trying to do as a composer.” MICHAEL NICOLELLA, ELECTRIC GUITAR MIKHAIL SHMIDT, VIOLIN Moravec composed Andy Warhol Sez in DAVID SABEE, CELLO 2005 for David Sogg, a bassoonist in the JOSEPH KAUFMAN, DOUBLE BASS Pittsburgh Symphony. The seven short movements for bassoon and piano spring Andy: A Popera from the folk wisdom of the artist Andy Featuring the Bearded Ladies Warhol (1928–87), the Pittsburgh native who was as provocative in his statements CAST as he was in his groundbreaking “pop Mary Tuomanen Andrei art,” including his famous Campbell’s Malgorzata Kasprzycka Julia soup cans and portraits of Marilyn Scott McPheeters Candy Monroe. The Warhol quotations recited CHORUS before each movement are deceptively Veronica Chapman-Smith John David Miles Alize Rozsnyai naïve, containing inscrutable depths of Karina Sweeney Steven Williamson meaning — much like Warhol’s seemingly straightforward art. Moravec’s musical ORCHESTRA Mikhail Shmidt, viola Michael Nicolella, electric guitar Jonathan Green, electric bass choices sometimes reinforce and other Dwight Beckmeyer, keyboard Rob Tucker, percussion times challenge the pronouncements of Warhol, the ultimate trickster. CREATIVE TEAM Music: Heath Allen and Dan Visconti | Directed/Text: John Jarboe Yannis Kyriakides (b. 1969), originally Costume Design: Rebecca Kanach | Sound Design: Daniel Perelstein from the Mediterranean island of Cyprus, Video Design: Jorge Cousineau | Dramaturg: Sally Ollove studied in England and the Netherlands, Andy: A Popera’s running time is approximately 40 minutes with no intermission. where he now lives and teaches. Like his former teacher Louis Andriessen, Kyriakides borrows elements from This concert is sponsored by the Bagley and Virginia Wright Foundation. [untitled] is electronic and popular music to generate generously supported by the Judith Fong Music Director’s Fund. [untitled] is presented as part of the Seattle Symphony’s New Music WORKS initiative, which is supported in part by a an industrial intensity in his scores. He is grant from the National Endowment for the Arts. New Music WORKS features commissions, a true indie-classical musician for the 21st concerts and educational activities that use composition as a catalyst for collaboration and century, identifying himself as a “composer engagement in music. Audience Development supported by The Wallace Foundation. and sound artist” who splits his time among composing, teaching, designing multimedia Please note that the timings provided for this concert are approximate. installations, performing in an electronic Please turn off all electronic devices and refrain from taking photos or video. ensemble and running a record label, Performance ©2017 Seattle Symphony. Copying of any performance by camera, audio or video recording among other outlets. equipment, and any other use of such copying devices during a performance is prohibited.

encoreartsseattle.com 35 PROGRAM NOTES continued

Kyriakides composed Tinkling or For this performance on the Seattle killing time in an airport lounge (and Symphony’s [untitled] series, the Andy being arrested) in 1999 as a fantasy team created a new, condensed version on a riff from the songTrinkle Tinkle by of the show that now receives its world Thelonious Monk (1917–82). A jazz pianist premiere. and composer who hit his stride in the 1950s, Monk played and lived by his own This rendition of Andy retains the opera’s rules. On good days he was a mysterious opening and closing scenes, which eccentric whose unpredictable stabs at introduce “Andrei” (a representation of the piano and irrational tunes added up the young Andy Warhol in Pittsburgh) to miraculously fresh and joyful creations; and Julia, his mother, an immigrant from on bad days he careened into devastating an area now part of Slovakia. True to mental illness, leading to the silence and the spirit of Warhol, who is credited with seclusion of his final years. coining the idea of “15 minutes of fame,” the focus of Andy shifts rapidly, bouncing Kyriakides wrote, “The idea of the piece through varied perspectives in the comes from a scene in the documentary space of seconds rather than minutes. Thelonius Monk: Straight, No Chaser, And in a world where everybody can be where Monk is seen spinning around like famous for 15 minutes (or seconds), it is a whirling dervish in an airport space. In fitting that audience members may find Boston, Monk once wandered around themselves being more than just passive the airport until the police picked him up spectators. The music itself is a mélange and took him to Grafton State Hospital of 1960s-style pop grooves and avant- for a week’s observation. He was quickly garde inflections. In the ensemble, only released without strings, and though the the viola hints at the “classical” aspect of experience persuaded him never to go this work’s pedigree; the guitar, keyboards, out on the road alone again, he used to bass and drums all point to the “pop” in tell it as a certification of his sanity. ‘I can’t this “popera.” be crazy,’ he used to say with conviction, ‘cause they had me in one of those places Two central scenes star the cross- and they let me go.’” dressing “Candy,” including her death in true operatic, prima donna fashion. Andy The piano begins and ends the piece playfully honors this timeless opera trope, with a Monk-inspired gesture high in the even quoting one classic example. In the instrument’s treble range. Throughout recurring phrase, “Remember me,” and Tinkling, the mixed chamber ensemble also in its melancholy accompaniment (including amplified guitar) deconstructs with a descending bass line, listeners and comments on the piano’s relentless, might recognize material borrowed from acrobatic figurations. “Dido’s Lament,” the climactic Chaconne in Purcell’s Dido and Aeneas. Andy: A Popera is as impossible to pigeonhole as its namesake, Andy Warhol. Andy Warhol may be most closely This blend of opera, cabaret, musical associated with the “Mad Men” era of theater and performance art was first celebrity, commercialism and kitsch, but staged in 2015 at the Philadelphia Fringe Andy demonstrates just how prophetic Festival, in a production developed by he was. The show creates a hyperactive Opera Philadelphia and the Bearded new pop art for the 21st century, the age Ladies, a cabaret troupe. John Jarboe, of curated selfies, social media echo artistic director of the Bearded Ladies, chambers and alternative facts. The wrote a libretto that combines biography, indefinableAndy brings to mind another philosophy, fantasy and no shortage of quote attributed to Warhol — which, like pageantry, all channeling Warhol’s fluid the “15 minutes” line, actually came from sense of art, gender, fame and gaze. For someone else, somehow making it all the music, two composers from different the more perfect as a Warholism: “Art is worlds joined forces: Dan Visconti, anything you can get away with.” a young composer with impressive credentials in the contemporary classical © 2017 Aaron Grad field, andHeath Allen, the music director for the Bearded Ladies and a longtime fixture in Philadelphia’s theater community.

36 SEATTLESYMPHONY.ORG THE BEARDED LADIES

The Bearded Ladies Cabaret is a troupe of cabaret artists who fuse cabaret and theater to tackle the politics of gender, identity and artistic invention with sparkle and wit. Cabaret, a unique blend of popular and “high” art, lends itself particularly well to artistic exploration of contemporary issues. Through our interdisciplinary productions, drawing from traditional theater, cabaret, opera, dance and art installation, we create satirical “caba-plays,” combining the irreverence and audience interaction of traditional cabaret with the attention to narrative and character of theater and opera. In our six year history, we have mozart brought our unique form of cabaret to more than 10,000 residents of Philadelphia through 13 original cabarets and numerous commissions, and have been featured in The New York Times, Huffington Post THE and all Philadelphia papers. The Bearded Ladies are Heath Allen, Kristen Bailey, John Jarboe, Rebecca Kanach, Sally Ollove, Dan Perelstein and Kate Raines. MAGIC FROM THE ARTIST: “Tonight you will hear excerpts from Andy: A Popera, a collaboration between the Bearded Ladies Cabaret and Opera FLUTE Philadelphia that originally premiered in Philadelphia in September 2015. The © Philip Newton collaboration grew from an excitement Opera Philadelphia General Director David Devan and I shared for what a cabaret/ COLORFUL FANTASY opera hybrid could be. And what better Mozart’s unique extravaganza blends MAY 6-21 subject than Andy Warhol, who brought myth, magic, and marvelous music to In German with English subtitles. “high” and “low” art together, created his Evenings 7:30 PM deliver its life-affirming message. Award- own methodology on top of artistic tradition, Sundays 2:00 PM and loved both Maria Callas and Holly winning costumes by fashion designer Featuring the Seattle Opera Chorus Woodlawn? Andy is the culmination of a Zandra Rhodes adorn enchanting and members of Seattle three year investigation into the life, legacy characters like the high-flying Queen of Symphony Orchestra. and fame of Warhol created using devised the Night. Don’t miss the many delights of theater techniques for story and staging “an intoxicatingly imaginative show” (The MCCAW HALL mashed up with the meticulous care of Seattle Times). two immensely talented composers: Heath 206.389.7676 SEASON SPONSOR: SEATTLE OPERA GUILD SEATTLEOPERA.ORG/FLUTE Allen and Dan Visconti. We are thrilled to PRODUCTION SPONSORS: TAGNEY JONES FAMILY FUND bring Philadelphia to Seattle, the new home AT SEATTLE FOUNDATION, ARTSFUND, 4CULTURE of Andy dramaturg Sally Ollove. She tells us the audiences are beautiful.” FAMILY DAY MATINEE: SUNDAY, MAY 14: STUDENT TICKETS JUST $15! – John Jarboe, Bearded Ladies Visit seattleopera.org/familyday for details Artistic Director

encoreartsseattle.com 37 SEATTLE SYMPHONY DONORS

PRINCIPAL BENEFACTORS PRINCIPAL MUSICIANS CIRCLE Ms. Taylor Swift, The Taylor Swift Charitable Fund of The Seattle Symphony acknowledges with gratitude The following donors have generously underwritten the the Community Foundation of Middle Tennessee the following donors who have made lifetime appearances of principal musicians this season. Anonymous (3) commitments of more than $1 million as of March 2, 2017. Thomas and Susan Bohn Bronze ($25,000 - $49,999) Sue and Robert Collett Chap and Eve Alvord 15 4Culture William and Janice Etzold Bob and Clodagh Ash ^ 15 Dr.* and Mrs. Ellsworth C. Alvord, Jr. Muriel Van Housen and Tom McQuaid Peter Russo and Kit Bakke 5 Andrew W. Mellon Foundation Patricia and Jon Rosen Sherry and Larry Benaroya ° 5 ArtsFund Anonymous Andrew Bertino-Reibstein, in memory of ArtsWA David Reibstein Beethoven, A Non Profit Corporation/ SYMPHONY MUSICIANS CIRCLE Clise Properties, Inc. Classical KING FM 98.1 The following donors have generously sponsored a Barney Ebsworth and Rebecca Layman-Amato ° 5 Alan Benaroya section musician this season. William O. and K. Carole Ellison Foundation Sherry and Larry Benaroya Katharyn Alvord Gerlich 15 The Benaroya Family Dr. C. Bansbach Dr. Martin L. Greene and Kathleen Wright ° 5 Bill & Melinda Gates Foundation Dr. Mark and Laure Carlson Lyn and Gerald Grinstein ^ 15 The Boeing Company Stephen Elop and Susan Johannsen Ilene and Elwood Hertzog ° 15 C.E. Stuart Charitable Fund Nancy Neraas and Michael King Hot Chocolate Fund 5 Charles Simonyi Fund for Arts and Sciences Dr. Ryo and Kanori Kubota Dana and Ned Laird ° 15 Leslie and Dale Chihuly Mr. and Mrs. Richard Moore Paul Leach and Susan Winokur ° 15 The Clowes Fund, Inc. The Nakajima Family Harold Matzner Priscilla Bullitt Collins* Cookie and Ken Neil JoAnn McGrath Jane and David R. Davis Gary and Susan Neumann The Nakajima Family ° 5 Delta Air Lines Melvyn* and Rosalind Poll Linda Nordstrom 15 Estate of Marjorie Edris Jane and James Rasmussen Jay Picard ° Judith A. Fong and Mark Wheeler Norm and Elisabeth Sandler/The Sandler Foundation James and Sherry Raisbeck ^ 15 The Ford Foundation Seattle Met Patricia and Jon Rosen ° 5 Dave and Amy Fulton Anonymous Eric and Margaret Rothchild 5 William and Melinda Gates Grant and Dorrit Saviers 5 Lyn and Gerald Grinstein Thank you to Judith A. Fong for providing matching Mel and Leena Sturman Lenore Hanauer funds for this new program. For more information Muriel Van Housen and Tom McQuaid 5 David J. and Shelley Hovind about musician sponsorship, please contact Becky Stephen and Leslie Whyte ° 5 Illsley Ball Nordstrom Foundation Kowals at 206.215.4852. H.S. Wright III and Katherine Janeway 15 Kreielsheimer Foundation Virginia and Bagley* Wright 15 The Kresge Foundation Anonymous (3) INDIVIDUALS Marks Family Foundation The Seattle Symphony gratefully recognizes the Bruce and Jeanne McNae MAESTROS CIRCLE Microsoft Corporation following individuals for their generous Annual Fund Gold ($15,000 - $24,999) Microsoft Matching Gifts Program and Special Event gifts through March 2, 2017. If you M.J. Murdock Charitable Trust have any questions or would like information about Warren A. and Anne G. Anderson 5 National Endowment for the Arts supporting the Seattle Symphony, please visit us Thomas and Susan Bohn 15 Nesholm Family Foundation online at seattlesymphony.org/give or contact Donor Sue and Robert Collett ^ 15 The Norcliffe Foundation Relations at 206.215.4832. The Martine and Dan Drackett Family Foundation PONCHO William and Janice Etzold James and Sherry Raisbeck Thank you for your support. Our donors make it all Senator and Mrs. Daniel J. Evans ° 15 Estate of Gladys Rubinstein possible! Jerald Farley ° 15 Gladys* and Sam* Rubinstein Richard and Elizabeth Hedreen 15 S. Mark Taper Foundation STRADIVARIUS CIRCLE Charles E. Higbee, MD and Donald D. Benedict* 15 Jeff and Lara Sanderson Platinum ($250,000+) Chuck and Pat Holmes ^ 15 Seattle Office of Arts & Culture Nader and Oraib Kabbani ° The Benaroya Family 15 Seattle Symphony Foundation Klorfine Foundation Leslie and Dale Chihuly ° 15 Seattle Symphony Women’s Association Moe and Susan Krabbe 15 Judith A. Fong and Mark Wheeler ° 5 Leonard and Patricia Shapiro Dawn Lepore and Ken Gladden ° 5 Marks Family Foundation ° Samuel* and Althea* Stroum Edmund W., Jr. and Laura Littlefield Anonymous (2) Dr. Robert Wallace Richard and Francine Loeb Joan S. Watjen, in memory of Craig M. Watjen Kjristine R. Lund ° 5 Gold ($100,000 - $249,000) Virginia and Bagley* Wright Yoshi and Naomi Minegishi ^ 15 Anonymous (6) Lenore Hanauer 15 Robert Moser Jean-François and Catherine Heitz ° 10 Dick and Joyce Paul ° 10 GUEST ARTISTS CIRCLE Helen and Max Gurvich Advised Fund Sally G. Phinny ^ David J. and Shelley Hovind ^ 10 The following donors have generously underwritten the Seattle Symphony Volunteers Martin Selig and Catherine Mayer ^ 15 appearances of guest artists this season. Patricia Tall-Takacs and Gary Takacs ^ Eliza and Brian Shelden The Atsuhiko and Ina Goodwin Tateuchi Foundation 5 Joan S. Watjen, in memory of Craig M. Watjen 15 Andrew Bertino-Reibstein, in memory of Rick and Debbie Zajicek Anonymous (2) David Reibstein Anonymous The Dan and Martine Drackett Family Foundation Silver ($50,000 - $99,999) Silver ($10,000 - $14,999) Judith A. Fong and Mark Wheeler Ilene and Elwood Hertzog Dr.* and Mrs. Ellsworth C. Alvord, Jr. 5 Richard and Constance Albrecht ^ 15 Hot Chocolate Fund Dr. Susan Detweiler and Dr. Alexander Clowes* ° 15 Dr. C. Bansbach Dana and Ned Laird Dave and Amy Fulton ^ 5 Jeanne Berwick and James Degel, Berwick Degel Paul Leach and Susan Winokur Lynn and Brian Grant Family ° 5 Family Foundation 5 Dr. Pierre and Mrs. Felice Loebel Dr. Kennan H. Hollingsworth ^ 15 Drs. Jim and Sue Bianco ° Sheila B. Noonan and Peter M. Hartley Jeffrey S. Hussey ° Mardi and Frank Bowles Nordstrom Jeff Lehman and Katrina Russell ° 5 Paul B. Brown and Margaret A. Watson ° 5 Eric and Margaret Rothchild Dr. Pierre and Mrs. Felice Loebel ^ 15 Dr. Mark and Laure Carlson 10 James and Sherry Raisbeck Pamela Merriman 5 Children Count Foundation 5 Grant and Dorrit Saviers Jerry Meyer and Nina Zingale 5 Kathy Fahlman Dewalt and Stephen R. Dewalt ° 5 Martin Selig and Catherine Mayer Sheila B. Noonan and Peter M. Hartley ° 15 Henry M. Finesilver 5 Norm and Elisabeth Sandler/The Sandler Foundation ° Natalie Gendler 15 Douglas* and Theiline Scheumann Neil M. Gray and Meagan M. Foley 10 Elizabeth and Justus Schlichting Margaret Haggerty

38 SEATTLESYMPHONY.ORG SEATTLE SYMPHONY DONORS

Patty Hall ° 15 Jeffrey and Susan Brotman 15 Bronze ($3,500 - $4,999) Stephen and Marcia Williams Terry Hecker and Dan Savage ° Amy Buhrig 5 Kenneth and Rosemary Willman ∞ John and Andrea Adams Margaret M. Hess Steve and Sylvia Burges 15 Larry Winn Ignacio Alvarado-Cummings Parul and Gary Houlahan ° Susan Y. Buske 5 Wayne Wisehart 5 ∞ Geoffrey Antos 5 Juniper Foundation 10 Barbara A. Cahill 5 Keith Yedlin Jesus Areyano II Janet Wright Ketcham Foundation 5 Ann Chandler Anonymous (5) Bill and Nancy Bain ^ 5 Will and Beth Ketcham ° Min and Michael Christ Tom Barghausen and Sandy Bailey Nancy Neraas and Michael King ° 5 David and Leigh Anne Clark Conductors Club ($2,000 - $3,499) Kris Barker Dr. Ryo and Kanori Kubota ° Steven and Judith Clifford 5 Carol Batchelder 15 Bill and Janette Adamucci 5 Rhoady* and Jeanne Marie Lee 15 Jacqueline B. Coffroth Fund of the Leslie and Michael Bernstein 5 Harriet and Dan Alexander Everil Loyd, Jr. and Joanne DelBene Sacramento Region Community Rebecca Galt Black 15 Terry Allen The Mitrovich Family ° 5 Foundation Matt Brannock and Claire Taylor Mr. and Mrs. John Amaya 5 Mr. and Mrs. Richard Moore 10 Cogan Family Foundation 5 Alec and Maddy Brindle 5 Drs. Linda and Arthur Anderson ∞ 5 Cookie and Ken Neil ° Bob and Jane Cremin Zane and Celie Brown 10 Dr. Larry and DeAnne Baer Erika J. Nesholm Dayna and Majdi Daher Steven Bush and Christine Chang Charlie Barbour and Diana Lynn Kruis 5 John and Laurel Nesholm ° 15 Carl de Marcken and Marina Meila Jonathan Caves and Jane and Peter Barrett Sally and Bill Neukom Calisle Dean Patricia Blaise-Caves 5 Patty and Jimmy Barrier Gary and Susan Neumann 15 Liz and Miles Drake 10 Samuel and Helen Colombo 15 Dr. and Mrs. Ronald J. Beck 5 John and Deanna Oppenheimer Judith Z. Feigin and Colin Faulkner Rosalie Contreras and Janice Berlin Melvyn* and Rosalind Poll 5 David and Dorothy Fluke ^ 15 David Trenchard + 10 Ann and Bruce Blume Jane and James Rasmussen 15 Gerald B. Folland 5 David and Christine Cross 5 William and Beatrice Booth Dana Reid and Larry Hitchon ° 5 Katy and Jason Garms James and Barbara Crutcher Bob and Bobbi Bridge 5 Rao and Satya Remala William Gates Sr. and Scott and Jennifer Cunningham 5 Alexandra Brookshire and Bert Green ^ 15 Tom and Teita Reveley 15 Mimi Gardner Gates 5 Dr. Bob Day 5 Claire and Aaron Burnett Jon and Judy Runstad ^ 5 Bob and Eileen Gilman Family Cindy Dobrow Butler’s Hole Fund Haim N. Schoppik Foundation 15 Dragonfish Asian Cafe Trish Carpenter Seattle Met D. Wayne* and Anne E. Gittinger Jim and Gaylee Duncan Cecily Carver Frank and Harriet* Shrontz 15 Phyllis Golden Charles Engelke and Laurie White Jeffrey Christianson Charles and Lisa Persdotter Simonyi Sebastian Gunningham Jean Gardner ^ 15 Robert E. Clapp ∞ 5 Betty Tong 5 Doug and Barbara Herrington Doris H. Gaudette 15 Mr. and Mrs. Ross Comer 10 Sita and Vijay Vashee Glen and Ann Hiner William and Cheryl Geffon Donald and Ann Connolly Dr. Robert Wallace ° 5 JNC Fund 5 Erica L. Gomez Jeffrey and Susan Cook 5 M. Barton Waring 5 Charles and Joan Johnson 15 Michele and Bob Goodmark 5 Patricia Cooke Gary and Karla Waterman ^ 5 Jeanne Kanach 5 Douglas Grady T. W. Currie Family 10 Selena and Steve Wilson 15 Sally Schaake Kincaid Betty Graham Frank and Dolores Dean 15 Jeffrey and Korynne Wright Karen Koon 10 Dr. and Mrs. Theodore Greenlee, Jr. 15 Tom DeBoer Mr. and Mrs. David C. Wyman Frances Kwapil Barbara Hannah and Lyle Deobald and Jessie Kim-Deobald Anonymous (8) Thomas and Virginia Hunt Luce Ellen-Marie Rystrom 15 Dr. Stella Desyatnikova Mark H. and Blanche M. Harrington Jane Hargraft and Elly Winer ∞ + 5 Aileen Dong Foundation 15 FOUNDERS CIRCLE Michèle and Dan Heidt 5 Renee Duprel ∞ + Frank and Judith Marshall Foundation Gold ($7,500 - $9,999) Deena J. Henkins Andrew Faulhaber 5 Chris H. Martin Dick and Nora Hinton Gerard Fischer Molly and Marco Abbruzzese ° 15 Corrinne Martin Michael A. Klein and Catherine A. Melfi 5 Robert Franklin René and April Ancinas ° Kevin McGuire Ms. Maritta Ko William E. Franklin Robert Bismuth Christine B. Mead 5 Lisa Ann Mikulencak and Jack Freelander Rosanna Bowles ° 5 Sarah Merner and Craig McKibben Bernhard Kohlmeier Tom and Sandra Gaffney 5 Renée Brisbois and Jay Burrell ° Richard Meyer and Susan Harmon Timothy Krueger Jane and Richard Gallagher 5 Jean Chamberlin Carolyn R. Miller 15 Drs. Kotoku and Sumiko Kurachi Martin and Ann Gelfand John Delo and Elizabeth Stokes 5 Alison and Glen Milliman Eugene and Martha Lee Nate Glissmeyer and Elizabeth Jennings Dr. Geoffrey Deschenes and Reid and Marilyn Morgan ^ 15 Steve and Donna Lewis 15 Fred Goldstein and David Pitt Dr. Meredith Broderick 5 Susan and Furman Moseley Judsen Marquardt and Constance Niva 5 Bill and Joy Goodenough 15 Brittni and Larry Estrada ° Dr. L. Newell-Morris Bill and Colleen McAleer 10 Catherine B. (Kit) Green 10 Donald G. Graham, Jr. 15 Bruce and Jeannie Nordstrom Ashley O’Connor McCready and Lucia and Jeffrey Hagander 5 Joaquin and Jennifer Hernandez ° Susan and Brian Olsavsky Mike McCready 5 William Haines 15 Dustin and Michelle Ingalls 10 Mark and Sally Onetto Joy McNichols 15 Karin and Frederic Harder Ben Kolpa and Angelisa Paladin Path Forward Leadership Development 5 Justine and John Milberg 5 Ken and Cathi Hatch ^ Steve Kutz and Courtney Womack 5 Tom and Sally Peyree Laina and Egon Molbak 15 Ken Hayashi 5 SoYoung Kwon and Sung Yang 5 Mr. and Mrs. Charles M. Pigott 15 Lourdes M. Orive Frederick and Catherine Hayes 15 Eva and Jon LaFollette 5 Mr. and Mrs. W. H. Purdy 15 Brian Pao and Susan Leu Terrill and Jennifer Hendrickson 5 Flora Ling and Paul Sturm Douglass and Katherine Raff 15 Dr. and Mrs. Richard D. Prince 15 Gabriel and Raluca Hera Bob and Annette Parks 5 Dick and Alice Rapasky 10 Chip Ragen Harold and Mary Fran Hill 10 Michael Slonski and Jennifer Wilson ° 10 Sue and Tom Raschella ^ 15 Jason Reuer Alice and Paul Hill Ms. Barbara Snapp and Bernice Mossafer Rind ^ E. Paul and Gayle Robbins 5 Candyce Hogan Dr. Phillip Chapman 5 Mr.* and Mrs. Herman Sarkowsky Jonathan and Elizabeth Roberts 15 Bob and Melinda Hord Michel and Christine Suignard Jan and Peter Shapiro Chuck and Annette Robinson 10 Thomas Horsley and Cheri Brennan Kirsten and Bayan Towfiq ° 5 Buz and Helen Smith 15 John Robinson and Maya Sonenberg 15 Walt Ingram, Wright Runstad Hans and Joan* van der Velden 15 Burnley and Jim Snyder Eric Robison & Company ° Anonymous John and Sherry Stilin 15 Mike and Marcia Rodgers Margaret and Frank Isernio Sympaticos James T. and Barbara Russell James and Sirkku Johnson Silver ($5,000 - $7,499) S. Vadman 5 Dr. and Mrs. Werner E. Samson ∞ 5 Mr. Daniel Kerlee and 15 Jean Baur Viereck 10 Jim and Catherine Allchin Jeffrey C. Sherman Mrs. Carol Wollenberg 10 5 Ronald and Devorah Weinstein Elias and Karyl Alvord Evelyn Simpson 15 Douglas Kim 5 Laurie and Allan Wenzel 5 Richard Andler and Carole Rush Nepier Smith and Joan Affleck-Smith W. M. Kleinenbroich 5 Mr. and Mrs. Michael Werner Claire Angel ° Margaret W. Spangler 15 Albert and Elizabeth Kobayashi 15 5 Rosalind Horder Williams Susan Y. and Charles G. Armstrong ^ Sonia Spear 15 Dr. and Mrs. Masato Koreeda Simon Woods and Karin Brookes + Suzanne M. Barker Alexander and Jane Stevens 10 Kathleen Leahy 10 Woodworth, Charleson Charitable Fund Silas Beane and Kristin Bunce Esther M. Su ∞ Kori Loomis 5 Martha Wyckoff-Byrne and Jerry Tone Donna Benaroya Steve Vitalich 5 Ruthann Lorentzen 5 5 Marcia and Klaus Zech Capt. and Mrs. Paul Bloch Charlie Wade + Richard* and Beverly Luce 15 15 Anonymous Barbara BonJour M. Elizabeth Warren 5 Alison and James Luckman 15 Jim and Marie Borgman Bryna Webber and Bryan Lung 5 Phillip and Karla Boshaw Dr. Richard Tompkins 5 Gunilla and Vidur Luthra

encoreartsseattle.com 39 SEATTLE SYMPHONY DONORS

Mark P. Lutz 15 Wael Bahaa-El-Din and Jerry and Gunilla Finrow 15 Erica Lewis and Richard Erickson, Louisa and Scott Malatos Amira El Bastawissi Ashley Myers and Andrew Fitz Gibbon Seed Fund of Greater St Louis Elliot Margul 5 Kendall and Sonia Baker 5 Patty Fleischmann Community Foundation Ken and Robin Martin ^ Tracy L. Baker 15 Debra and Dennis Floyd Henry Li David Mattson Dr. and Mrs. John Baldwin Barry and JoAnn Forman James Light 5 Diane Mayer Dr. and Mrs. Terrence J. Ball 5 Paula Fortier Michael Linenberger and Sallie Dacey Anne McDuffie and Tim Wood 5 Richard Barbieri and Lyn Tangen Dana A. Frank Mark Linsey and Janis Traven Brooke and Dre McKinney-Ratliff Joel Barduson Ms. Janet Freeman-Daily 10 Anne and Steve Lipner Drs. Pamela and Donald Mitchell 15 Sarah and Rich Barton Ed and Kathy Fries Robert and Marylynn Littauer 5 Ryan Mitrovich Amie Batson Andrew and Molly Gabel Sharon and Marty Lott Gary Moresky 5 Douglas and Maria Bayer 15 Terri and Joseph Gaffney 5 Lovett-Rolfe Family Trust Ms. Mary Ellen Mulder Michael and Stephanie Beers Ruth and Bill* Gerberding ^ 5 Fo-Ching Lu and Andrew Roberts Mika Nakamura and Gary Wood Carl and Renée Behnke Janice A. and Robert L. Gerth 15 Susan and Jeff Lubetkin Isabella and Lev Novik Dr. Melvin Belding and Dr. Kate Brostoff James and Carol Gillick ^ 10 Mr. and Mrs. Louis Lundquist 5 Arwa and Mohammed Obeidat Judith and Arnold Bendich Jeffrey and Martha Golub 10 Douglas MacDonald and Lynda Mapes Rena and Kevin O’Brien Geoffrey Bent and Katie Kemezis 5 Maridee Gregory ∞ 5 Sandy Mackie Jerald E. Olson 15 Kathy Binder Julie Gulick Michael and Barbara Malone Mr. and Mrs. Thomas Olson Marilyn Boss Mr. and Mrs. David Hadley 10 Mary Ann and Ted Mandelkorn Ralph and Marlys Palumbo ^ Bob* and Jane Ann Bradbury 10 Bruce Haldane Mark Litt Family DAF of the Jewish Allan and Jane Paulson 15 Herb Bridge and Edie Hilliard Mary Stewart Hall 10 Federation of Greater Seattle 5 David F. Peck 15 S. Lori Brown James and Darlene Halverson Anne and Karl Marlantes Nancy and Christopher Perks 10 Cy and Kathleen Butler Leslie and Nick Hanauer Marcia Mason Rosemary Peterson Alan and Ciara Byars Deena C. Hanke ∞ Charles T. Massie ∞ 15 Hera Phung 5 Frank and Phyllis Byrdwell ^ Dave and Sandy Hanower Erika and Nathan Mattison Marcus Phung 5 Mary and Patrick Callan Dr. and Mrs. James M. Hanson 5 Lois Mayers Guy* and Nancy Pinkerton 5 April Cameron 10 Kate Harris and Andrew Jones Florence and Charlie Mayne Cary Plotkin and Marie-Therese Brincard Karen Cameron 5 Susan and Tom Harvey Michael and Rosemary Mayo 15 Aimme Qiao Corinne A. Campbell 5 Mary Heckman Doug and Joyce McCallum Carrie Delaney Rhodes Craig and Jean Campbell 15 Dr. and Mrs. Robert M. Hegstrom 5 Malcolm and Diane McCallum 5 Ed and Marjorie Ringness 15 Elizabeth M. Campbell Robert and Eileen Hershberg 5 John and Gwen McCaw Richard and Bonnie Robbins Wally and Sally Campbell Mike and Liz Hilton Ashley McDougall Nancy M. Robinson 15 Janitta and Bob Carithers Suzanne Hittman Diane and Scott McGee Sharon Robinson 5 Cory Carlson Bob Hoelzen 5 Hughes and Kelley McLaughlin Helen Rodgers 15 Carol and John Austenfeld Norm Hollingshead 5 Karen and Rick McMichael ∞ 15 Marnie Roozen Charitable Trust 5 Bob Holtz and Cricket Morgan 5 Mary McWilliams 10 Annie and Ian Sale Benjamin Carr Margaret and Marc Horton Mary Mikkelsen 15 Kate and Matthew Scher Emily Carroll 5 Carole and Rick Horwitz Ronald Miller and Murl Barker 5 Thomas and Collette Schick 15 Vicente Cartas Espinel Gretchen and Lyman* Hull 15 Dr. Stewart Miller Eckhard Schipull 10 Kent and Barbara Chaplin 10 Joni Scott and Aedan Humphreys ∞ Laurie Minsk and Jerry Dunietz Dr. and Mrs. Jason Schneier 5 Michael and Gayle Charlesworth ∞ 5 Michael Hunter Chie Mitsui ∞ Susan Schroeter-Stokes and Jorge Chavez Sara Hurley Charles Montange and Robert Stokes 5 Gerrie Cherry Richard and Roberta Hyman ∞ 5 Kathleen Patterson 15 Charles and Maria Schweizer Mr. James Chesnutt 5 Joyce and Craig Jackson Alex and Nayla Morcos Jo Ann Scott Michelle and Abhineet Chowdhary Ralph E. Jackson 15 Mary and Alan Morgan Jeff and Kim Seely Terese Clark Eric Jacobs  Christine B. Moss 15 Barbara and Richard Shikiar 15 John Clawson Randy Jahren 5 Donald and Shirley Mottaz 5 Yuka Shimizu Joshua D. Closson Mr. and Mrs. Jerry Janacek Kevin Murphy 15 Jon Shirley and Kim Richter Sam and Karen Coe Megan Hall and James Janning ∞ + 5 Marcia Murray Mary Snapp and Spencer Frazer Mr. Peter Cohen and Ms. Bettina Stix Lawrence Jen Mr. and Mrs. J. P. Naughton 15 Christopher Snow 5 Ida Cole Robert C. Jenkins 5 Paul Neal and Steven Hamilton ∞ 5 Stella Stamenova Ellen and Phil Collins 15 Clyde and Sandra Johnson 5 Kirsten Nesholm 5 Lorna Stern 15 Mr. and Mrs. Frank Conlon Rodney J. Johnson Marilyn Newland 5 Isabel and Herb Stusser 10 Peter and Lori Constable ∞ Christy Jones and Rob Lilleness Paul and Linda Niebanck Mr. and Mrs. C. Rhea Thompson The Honorable Dow Constantine Dr. Kari Jones Linda Nordberg Betty Lou and Irwin* Treiger 15 and Ms. Shirley Carlson Neil and Ciara Jordan Eric Noreen and Suzi Hill Manijeh Vail 5 Herb and Kathe Cook 5 Shreya Joseph Ken and Pearl Noreen Jan and Nancy Wanamaker 5 Richard Cuthbert and Zagloul Kadah 5 Sharon L. Norris John and Fran Weiss 15 Cheryl Redd-Cuthbert Gretchen Kah 5 Mary Odermat Norma Wells 5 Russell Daggatt and Suzanne and Steve Kalish Tim O’Keefe Charles Wheeler Gemma Valdez Daggatt Peter Kelly Mrs. Jackie A. O’Neil 5 Cliff Burrows and Anna White 5 Robert Darling 5 Sean and Lisa Kelly 5 Phillip O’Reilly Ms. Bethany Winham Tatiana Davidson 5 Michael and Mary Killien 15 Leo Ortiz and Adriana Aguirre Jeff Wood and Diane Summerhays Margaret and Lou Dell’Osso Ragan and Ed Kim Thomas and Cynthia Ostermann 10 Jerry and Nancy Worsham 10 David and Helen Dichek Douglas F. King 15 Richard and Peggy Ostrander Barbara and Richard Wortley 5 Dee Dickinson 5 Karol King 5 Meg Owen 5 Carol Wright Brooke Benaroya Dickson Virginia King 5 Dena and Tom Owens Kay H. Zatine 15 Anthony DiRe Carolyn and Robert Kitchell David and Gina Pankowski Christian and Joyce Zobel 5 Dwight and Susan Dively 5 Peter and Susan Knutson Richard and Sally Parks Igor Zverev 15 Anne and Bob Doane Vera Koch PAS Financial Planning Anonymous (14) Everett and Bernie DuBois 10 Maryann and Tom Kofler Perspectives of New Music Ken Duncan and Tanya Parish 5 Allan and Mary Kollar Jasen Peterman Musicians Club ($1,000 - $1,999) Jeff Eby and Zart Dombourian-Eby  5 Jodi Krause Lisa Peters and James Hattori 5 15 Abel Family Fund Mr. Scott Eby ∞ Brian and Peggy Kreger Thomas Pfenning 10 Peter Aiau and Susan Ormbrek Dr. Lewis and Susan Edelheit Dr. and Mrs. Alvin Kwiram Stewart Phelps 5 5 John Akin and Mary Stevens Leo and Marcia Engstrom Eric Lam Don and Sue Phillips 15 Eddy and Osvaldo Ancinas Mr. David Epstein Ron and Carolyn Langford Stephen Phinny 15 Carlton and Grace Anderson 5 Mary and Geoffrey Evans Peter M. Lara Derek and Anna Pierce 10 Rick Anderson and Marianne Bergstrom Dr. and Mrs. R. Blair Evans J&J Latino O’Connell Valerie and Stanley Piha 5 Patrick Andre 5 Randi Fatizzi Dr. Gordon D. LaZerte Andrey Popov 5 15 Richard and Dianne Arensberg Karen and Bill Feldt Gregory and Mary Leach Prairie Foundation 10 Dr. Sharon and Vince Augenstein Al Ferkovich and Virginia and Brian Lenker ∞ Lori and Bill Price 15 5 15 Larry Harris and Betty Azar 15 Joyce Houser-Ferkovich Don and Carla Lewis Mrs. Eileen Pratt Pringle 15 Michele and Charles Bacon Maria Ferrer Murdock Llewelyn G. and Joan Ashby Pritchard ^

40 SEATTLESYMPHONY.ORG SEATTLE SYMPHONY DONORS

Harry* and Ann Pryde Roger and June Whitson ∞ Steve Bush and Christine Chang, by Lenore Hanauer, by Ann Ramsay-Jenkins Mitch Wilk Clarius Group Penelope Burke Paul and Bonnie Ramsey Michael Winter Mary C. Ransdell and Keith Wong Mr. Eric Wong 5 T.J. Callahan, by Mary Henderson, by Robert F. Ranzenbach 10 Jessie and David Woolley-Wilson Tim Callahan Linda Werner Wendy and Murray Raskind 10 Elizabeth and Troy Wormsbecker Reverend Kerry and Robin Reese 10 Talia Silveri Wright The Cello Section, Harald and Jenny Hille, friends of Jean A. Rhodes 5 Esther Wu Betty Graham Ludovic Morlot, by Fred Richard 15 Lee and Barbara Yates 15 Margaret and Andrew Gordon John Richardson II 5 Mrs. Sarah Yeager 5 Stella Chernyak, by Deborah and Andrew Rimkus 5 Maeng-Soon Yu 10 David Gaglione Glen and Ann Hiner, by Melissa Rivello Robert and Eileen Zube 5 Eugene Leibowitz Ms. Jean C. Robinson 5 Anonymous (26) Leslie Chihuly, by Mike Robinson The Sam and Peggy Grossman Family Virginia Hunt Luce, by Jack Rodman and Koh Shimizu 5 5 years of consecutive giving Foundation Tom Luce Joseph L. Romano 10 10 years of consecutive giving Norm Hollingshead Stan and Michele Rosen 15 15 years or more of consecutive giving Dr. Pierre and Mrs. Felice Loebel Linda Jones, by Dr. Len and Gretchen Jane Rosoff ∞ Monthly Sustaining Donor Harold Matzner Rochelle Morrissey Michelle and Jerry Rubin  Musician The M. C. Pigott Family Don and Toni Rupchock 15 ° Board Member Matt Stevenson Leila Josefowicz, by David Sabee and Patricia Isacson Sabee  ^ Lifetime Director Barbara Tober Norm Hollingshead Sarah and Shahram Salemy + Staff Su-Mei Yu Matthew Salisbury * In Memoriam Anonymous Karneia, by Sara Delano Redmond Fund Allen R. Schwerer Mr. and Mrs. Joseph Schocken To our entire donor family, thank you for Elaine Cho, by Judith Schoenecker and your support. You make our mission and Samuel Plott Sherri King, by Christopher L. Myers 5 music a reality. Vince Koester Nancy and James Schultz + 5 Terry Clark, by Janet Sears 10 Did you see an error? Help us Lara Clark Zhenlun Li, by Janet and Thomas Seery 10 update our records by contacting Esther Wu Tanya and Gerry Seligman 5 [email protected] Samuel Clarke, by Linda Sheely 15 or 206.215.4832. Thank you! David Gaglione Dr. Pierre and Mrs. Felice Loebel, by Anne Shinoda-Mettler Marilyn Layton Charles Shipley 15 HONORARIUM GIFTS Marianne Cole, by Dr. and Mrs. Larry Martin Mitzi Cieslak Robert and Anita Shoup Gifts to the Seattle Symphony are a , by William Shuman wonderful way to celebrate a birthday, Hayley Lyons 10 , by Sue Lyons Dr. Charles Simrell and Deborah Giles honor a friend or note an anniversary. Rosalie Contreras Mika and Jenny Sinanan 5 Robert Haeger In addition to recognition in the Encore , by Jill Singh program, your honoree will receive a card Marcia Mason Kathleen and Eric Ottum Randip Singh from the Symphony acknowledging your Joseph Crnko and the Seattle Symphony , by Douglas Smith and Stephanie Ellis-Smith thoughtful gift. Chorale Joan Smith Norm Hollingshead Reid and Marilyn Morgan, by 5 Sandra and James Taylor Mr. and Mrs. Bill Bonnett Stephen and Susan Smith Gifts were made to the Seattle Harry Snyder Symphony in recognition of those listed 5 , by Kathleen and Robert Spitzer below between March 2, 2016 and Samantha DeLuna Ludovic Morlot and the Seattle 5 Megan Hall and James Janning , by Doug and Katie Sprugel March 2, 2017. Please contact Donor Symphony Jennifer Lee Norm Hollingshead Donald and Sharalyn Stabbert Relations at 206.215.4832 or 15 Martine and Dan Drackett Dr. and Mrs. Robert Stagman [email protected] if you Anonymous Craig and Sheila Sternberg would like to recognize someone in a Will Dixon and Jay Picard, by Steve and Sandy Hill Family Fund at the David Gaglione future edition of Encore. Seattle Foundation ^ 15 Nu.Mu.Zu, by 5 , by Scott Siken Diane Stevens 1201 Third Avenue Parking Garage, by Zart Dombourian-Eby 5 Ms. Heather L. Stotz Charles Montange and Kathleen Ms. Marilyn E. Garner , by Hope and Richard Stroble Patterson Llewelyn Pritchard Audrey and Jim* Stubner 15 Emily Evans, by Mr. and Mrs. Thomas Olson 5 Ellen Hope Victoria Sutter Jennifer Adair, by , by Lina and Lino Tagliapietra Michelle Hamilton David Rambo David Tan and Sherilyn Anderson-Tan Dr. Daniel Feller, by Trenton Rambo Jeffrey Girardin Mabel and Jason Tang John Adams, by 5 Ronald and Pamela Taylor Mr. Roy Hughes Sue and Tom Raschella’s Bob and Mimi Terwilliger 10 Jonas Flueckiger, by 50th Wedding Anniversary, by 15 Shon Schmidt Bob and Clodagh Ash Meryl and Donald* Thulean Afman, by Jennifer Connors Barbara Tober Varun Chhabra and Natasha Gupta Vahe Torossian Steve Frank’s 75th Birthday, by Jeffrey Phillippe Patricia and Jon Rosen John Phillippe Elaine Tsai Claire Angel, by Lorna Tumwebaze Lyn and Gerald Grinstein 15 , by Dolores Uhlman Mikal and Lynn Thomsen Janice A. Gerth, by Stella Rolph Simone Spiess Sami Uotila and Tuula Rytila Andrea Wenet Robert Gerth Gretchen Van Meter 15 15 , by Jon Rosen, by Johanna P. VanStempvoort Bob Ash, by Sam Glatstein 5 Joe and Linda Berkson Mary Lou and Dirk van Woerden Jeff Eby and Zart Dombourian-Eby Benjamin Glatstein Karoline Vass Sue and Thomas Raschella Tara and John Verburg Nancy Page Griffin, by Bernice Rind, by Mina Miller and David Sabritt Bob and Clodagh Ash Donald J. Verfurth Jared Baeten and Mark Ruffo, by 10 Howard Moss and Pauline Shapiro Doug* and Maggie Walker Eugene Brown Michael Schick and Katherine Hanson Stephanie Wallach David and Julie Peha , by Kay Zatine Debra Ward Susan and Armin Baumgartel, by Augustin Hadelich 15 Ralph and Virginia Wedgwood Zanne and Ian Gerrard Norm Hollingshead 5 , by Ed and Pat Werner Erica Peterson Norman and Elisabeth Sandler Greg Wetzel 5 Patty Hall, by Stephanie and Michael Beers 5 Michael and Kelly Hershey Judith A. Whetzel Becky Benaroya, by Harold Matzner Beverly Schoenfeld

encoreartsseattle.com 41 SEATTLE SYMPHONY DONORS

Michael Schmitt, by Beatrice and Arlene Berlin, by Jackie Davenport, by Carolyn and Leroy Lewis, by Barbara Schlotfeldt Janice Berlin Nadine Miyahara Leslie and Dale Chihuly

Seattle Symphony Volunteers, by Donald W. Bidwell, MD, by Lucy J. Ding, by Fridolf N. Lundholm, by Ken Abramson and Helen Santibanez Sharon Bidwell Paula Ding Steven Lundholm

Virginia Senear, by Grandma Bosma, by Martha Donworth, by Ginny Meisenbach, by Kelly Schmidt Andrew Emory Christine Marshall Leslie and Dale Chihuly

Richard and Barbara Shikiar, by Rob Bradbury, by Doris Dwyer, by William Joseph Nazzaro, by Sandra Smith Jane Ann Bradbury Jeffrey W. Smith Mary Nazzaro LouAnne Shelton Peggy Spencer, by Eugene Fisher, by Merlyn A. Nellist, by Nancy McConnell Bev Bright, by Gayden F. Carruth Donna Nellist Rita Gray Cascade Designs, Inc. Betsy and Gary Spiess, by Melvyn Poll, by Ling Chinn Richard Campbell, by Wesley Fisk, by Abbott Construction Alison S. Andrews Renate Stage Asma Ahmed Rachel Swerdlow, Walter Gray, and Paul Jane Hadley Janet Abrams Rafanelli, by Eugene and Sue John Donald Isle Foster, by Ash Family Foundation Mark Linsey and Janis Traven Edna C. Kelso Karen Laband Larry and Sherry Benaroya Janet W. Ketcham Sheila B. Noonan and Peter M. Hartley Maureen and Joel Benoliel Donald Thulean, by Mary G. Langholz Lisa Bergman Gerard Fischer Gary and Debra Larson Beulah Frankel, by Carolyn Burnett Erika L. Lim Ginny Gensler Bret Chatalas Tuning Up!, by John D. Marshall Maryann Crissey Penelope Burke Llewelyn G. and Joan Ashby Pritchard Shirley H. Fuller, by Sandra and Gary Etlinger Roy L. Hughes Carole J. Tingstad Marise and Randy Person Timotha and Charles Freedenberg Sharon Friel [untitled], by Arthur Caputi, Jr., by William Gerberding, by Marlene and Jon Fuson Norm Hollingshead Marti Caputi Leslie and Dale Chihuly Laurie Griffith Mr. and Mrs. David L. Fluke Jane Hargraft and Elly Winer Karla Waterman, by Frederic Chopin, by Dr. Kennan H. Hollingsworth David and Sharron Hartman Kay H. Zatine Xiaoxia Zhou Llewelyn G. and Joan Ashby Pritchard Carolee and Tom Mathers Marilyn McManus Steve Whyte’s Birthday, by Lydia Christofides, by Booker T. Gibson, by Stewart Miller Mark Schletty and Jan Laskey Gerald B. Folland Patricia and Jon Rosen Linda Nordberg Jack Norman James and Mary Lou Wickwire, by Dr. Alexander Clowes, by Barbara Bye Goesling, by William Poll Melissa and David Wickwire Charles Alpers and Ingrid Peterson Llewelyn and Jonie Pritchard Ann Pryde Bob and Clodagh Ash Pat and Jon Rosen Kathleen Wright and Martin Greene, by Dr. and Mrs. Forrest Bennett Billie Grande, by Milicent Savage Joel Paisner Mardi and Frank Bowles Patricia and Jim Davis SRG Partnership, Inc Patricia and Jon Rosen Butler’s Hole Fund Carlyn Steiner Barbara A. Cahill Allan Granquist, by Leena and Mel Sturman Julie Wotruba, by Drs. Lihua Chen and Yihua Xiong Steven Lundholm Dennis and Diane Warshal David Gaglione Leslie and Dale Chihuly Barbara and Jonathan Zweig Dr. Susan Detweiler Bertram H. Hambleton, by MEMORIAL GIFTS Dan and Nancy Evans Ginger Campopiano John J. and Gertrude M. Rangstrom, by David and Dorothy Fluke Jill Palmer Jon Fourre Gifts were made to the Seattle Dr. Kennan H. Hollingsworth Virginia Park Symphony to remember those listed Becky Kowals David Reibstein, by below between March 2, 2016 and John and Nancy Lightbody Bill Hirschfeld, by Andrew Bertino-Reibstein March 2, 2017. For information on Jack and Sandy McCullough Marjorie J. Levar remembering a friend or loved one C. Gardner McFall and Peter Olberg Phyllis Stern Sam and Gladys Rubinstein, by through a memorial gift, please contact John and Laurel Nesholm Leslie and Dale Chihuly Donor Relations at 206.215.4832 or Sheila B. Noonan and Peter M. Hartley David James Howe, by [email protected]. Laird Norton Wealth Management Mary Howe Carole Sanford, by Carolyn and Michael Patterson Richard Howe Horizon House Supported Living Jane and Don Abel, by Susan Pazina Jane Qualia The Abel Family Fund Melvyn and Rosalind Poll Herman Sarkowsky, by

Sue and Tom Raschella Joseph Hylland, by Leslie and Dale Chihuly David Anderson, by Patricia and Jon Rosen Rebecca Benson David and Dorothy Fluke Julie L. Antle-Anderson Dr. and Mrs. Gilbert J. Roth Llewelyn G. and Joan Ashby Pritchard The Seattle Commissioning Club Gretchen Hull, by Arval, by Eve Gordon Anderson and Mark Mary and Patrick Ragen Walter Schoenfeld, by Dr. L. Newell-Morris Anderson Leslie and Dale Chihuly Roy and Laura Lundgren Suzie Johnston, by Wanda Beachell, by Dr. Alan and Mary Morgan Edgar and Linda Marcuse Allen Senear, by E. A. Beachell Patricia Tall-Takacs and Gary Takacs Reid and Marilyn Morgan Ken Shapero and Dianne Aprile Milton Katims, by Bill Beery, by Doug and Katie Sprugel Pamela Katims Steele Julia Shaw, by Madeline Beery Craig and Sheila Sternberg Bob and Clodagh Ash Linda Stevens Yun-Kuk Kim, by Sue and Tom Raschella Jack Benaroya, by Neal B. Abraham and Donna L. Wiley Douglas Kim Leslie and Dale Chihuly Anonymous Amy Sidell, by Marcy Krueger, by John and Laurel Nesholm Rose and Richard Bender, by Kent Coleman, by Amanda Budde-Sung Sue and Tom Raschella Alan Cordova Jan Coleman Laurence Lang, by Nancy Simek, by Donald Benedict, by S. Patricia Cook, by Rosalie Lang William and Janice Etzold Dr. Charles Higbee Capt. Charles Cook Isaac Michael Levin, by Langdon Simmons, by Gertrude Bergseth, by Sophie-Shifra Gold Llewelyn and Jonie Pritchard Constance Trowbridge

42 SEATTLESYMPHONY.ORG SEATTLE SYMPHONY DONORS SEATTLE SYMPHONY DONORS

Sam and Althea Stroum, by The Urner Family Janice T. Whittaker, by Lenore Ward Forbes Leslie and Dale Chihuly John Walcott Jody Friday Marion O. Garrison Mary and Findlay Wallace Elizabeth C. Giblin James Stubner, by Wiatr & Associates Richard Yarington, by Carol Hahn-Oliver Bob and Clodagh Ash Marjorie Winter Yoko Barnett Allan and Nenette Harvey Bucknell Stehlik Sato & Stubner, LLP Richard and Barbara Wortley Robert E. Clapp Yveline Harvey Leslie and Dale Chihuly Kay Zatine Barbara McHarg Helen and Max Gurvich Sue and Robert Collett Cheryl Jefford Gretchen and Lyman Hull Doug and Gail Creighton Don Thulean, by Charles and Joan Johnson Betty L. Kupersmith Cousins Pam, Tim, Terry and Julie, and Todd Gordon and Susan Feder Margaret Kiyohara E. Marian Lackovich Uncle Ron Collins Reid and Marilyn Morgan MJo Anna L. Lawrence Carol B. Goddard John and Laurel Nesholm Arlyne Loacker Robert and Rhoda Jensen Sheila B. Noonan and Peter M. Hartley ESTATE GIFTS Olga M. McEwing Peter J. McTavish Ken Kataoka Llewelyn G. and Joan Ashby Pritchard We gratefully remember the following Norman D. Miller John King Sue and Tom Raschella individuals for their generosity and Nuckols-Keefe Family Foundation Richard* and Beverly Luce Jennifer Schwartz forethought, and for including the Beatrice Olson Natalie Malin Seattle Symphony in their will, trust Carl A. Rotter Doug and Joyce McCallum Katie Tyson, by or beneficiary designation. These John C. Rottler Dustin Miller Elizabeth Faubell legacy gifts provide vital support for Allen E. Senear Reid and Marilyn Morgan the Symphony now and for future Amy Sidell Carole Narita John L. Voorhees generations. (Estate gifts since Phillip Soth Kenneth and Catherine Narita, Kimberly September 1, 2014.) and Andy Absher, Karen and Steve B. K. Walton, by Morton Stelling Ida L. Warren Shotts, and Kristen Narita Penelope Yonge Dr. William and Mrs. Laura Andrews Leona Narita Harriet C. Barrett Trust Ruby Narita Brian Weiss, by Barbara and Lucile Calef Llewelyn G. and Joan Ashby Pritchard Sue Eriksen Robert E. and Jeanne Campbell Sue and Tom Raschella Dina Jacobson Carmen Delo Kathleen Sesnon Lars Sorenson Sherry Fisher Patricia Tall-Takacs and Gary Takacs Jane B. Folkrod

SEATTLE SYMPHONY ENDOWMENT FUND

The Seattle Symphony is grateful to the following donors who have made commitments of $25,000 or more to the Endowment Fund since its inception. The following list is current as of March 2, 2017. For information on endowment gifts and naming opportunities in Benaroya Hall, please contact Becky Kowals at 206.215.4852 or [email protected].

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

encoreartsseattle.com 43 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 March 2, 2017.

Charles M. and Barbara Clanton Ackerman Jeanette M. Lowen* Joan P. Algarin Thomas and Virginia Hunt Luce Richard Andler and Carole Rush Ted and Joan Lundberg I GIVE BECAUSE ... Ron Armstrong Judsen Marquardt and Constance Niva Elma Arndt Ian and Cilla Marriott Bob and Clodagh Ash Doug and Joyce McCallum Susan A. Austin Tom McQuaid 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 “I was Donald/Sharon Bidwell Living Trust Reid and Marilyn Morgan Rosemary and Kent Brauninger George Muldrow Sylvia and Steve Burges Marr and Nancy Mullen introduced 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 to the joy 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 of classical 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 music by my Mildred King Dunn James and Sherry Raisbeck Sandra W. Dyer Dana Reid and Larry Hitchon Ann R. Eddy J. Stephen and Alice Reid David and Dorothy Fluke Bernice Mossafer Rind mother. My Gerald B. Folland Bill* and Charlene Roberts Judith A. Fong Junius Rochester Jack and Jan Forrest Jan Rogers entire life Russell and Nancy Fosmire Patricia and Jon Rosen Ernest and Elizabeth Scott Frankenberg Mary Ann Sage Cynthia L. Gallagher Thomas H. Schacht Jane and Richard Gallagher Judith Schoenecker and Christopher L. Myers has been Jean Gardner Annie and Leroy Searle William and Cheryl Geffon Virginia and Allen* Senear Natalie Gendler Leonard and Patricia Shapiro filled with an Carol B. Goddard Jan and Peter Shapiro Frances M. Golding Barbara and Richard Shikiar Jeffrey Norman Golub Valerie Newman Sils appreciation Dr. and Mrs. Ulf and Inger Goranson Evelyn Simpson Betty Graham Betty J. Smith Catherine B. Green Katherine K. Sodergren Dr. Martin L. Greene Althea C. and Orin H.* Soest of music.” Roger J.* and Carol* Hahn-Oliver Sonia Spear James and Darlene Halverson Karen Stay Barbara Hannah Morton A. Stelling* Harriet Harburn Diane Stevens Ken and Cathi Hatch Patricia Tall-Takacs and Gary Takacs – Kari J. Michele and Dan Heidt Gayle and Jack Thompson Ralph and Gail Hendrickson Art and Louise Torgerson Deena J. Henkins Betty Lou and Irwin* Treiger Charles E. Higbee, MD Muriel Van Housen Harold and Mary Frances Hill Sharon Van Valin Frank and Katie Holland Jean Baur Viereck Dr. Kennan H. Hollingsworth Dr. Robert Wallace Chuck and Pat Holmes Nicholas A. Walls Richard and Roberta Hyman Judith Warshal and Wade Sowers Janet Aldrich Jacobs Douglas Weisfield Jennifer James, MD James and Janet Weisman WHY DO YOU GIVE? Robert C. Jenkins John and Fran Weiss Dr. Barbara Johnston Robert T. Weltzien Norman J. Johnston* and L. Jane Hastings Johnston Dorothy E. Wendler Atul R. Kanagat Gerald W. and Elaine* Millard West Don and Joyce Kindred Selena and Steve Wilson Dell King Ronald and Carolyn Woodard Douglas F. King Arlene A. Wright Stephen and Barbara Kratz Janet E. Wright Frances J. Kwapil Rick and Debbie Zajicek SEATTLESYMPHONY.ORG/GIVE M. LaHaise Anonymous (45) Ned Laird Paul Leach and Susan Winokur * In Memoriam 206.215.4832 Lu Leslan Marjorie J. Levar

44 SEATTLESYMPHONY.ORG CORPORATE & FOUNDATION SUPPORT

The Seattle Symphony gratefully recognizes the following corporations, foundations and united arts funds for their generous outright and In-Kind support at the following levels. This list includes donations to the Annual Fund and Event Sponsorships, and is current as of March 2, 2017. Thank you for your support — our donors make it all possible!

$500,000+

Seattle Symphony Foundation

$100,000 – $499,999

Seattle Symphony Volunteers ◊

$50,000 – $99,999 $10,000 – $14,999 EY CityBldr

Classical KING FM 98.1 ◊ Aaron Copland Fund For Music GE Foundation Consulate General of the Republic of Poland Google Inc. † Acucela Inc. Glazer’s Camera † Cornerstone Advisors, Inc. John Graham Foundation Bill & Melinda Gates Foundation Jean K. Lafromboise Foundation DreamBox Learning KEXP † Matching Gifts KeyBank Foundation DSquared † Laird Norton Wealth Management Coca-Cola Company Matching Gifts MG2 Foundation Eaton Vance Microsoft Corporation CTI BioPharma Corp. Music4Life Educational Legacy Fund Microsoft Matching Gifts Foster Pepper PLLC NAREIG Four Seasons Hotel † Nesholm Family Foundation Fran’s Chocolates ◊ Peg and Rick Young Foundation ◊ Fox’s Seattle † Precept Wine ◊ Holland America Line RBC Foundation Garden Conservancy Seattle Met Magazine † Lakeside Industries Russell Family Foundation Milliman † Sheraton Seattle Hotel † Hard Rock Cafe Seattle † Inn at the Market † $25,000 – $49,999 Peoples Bank Skanska USA Perkins Coie LLP KAN | Orchids Flowers † Ann and Gordon Getty Foundation Sullivan’s Steakhouse † RBC Wealth Management O Wines † Bill & Melinda Gates Foundation Vitus Group Robert Chinn Foundation Pacific Coast Feather Co. Boeing Matching Gift Program The Westin Hotel, Seattle † Rosanna, Inc. † Paul & Dottie Foundation of the Classic Pianos ◊ DuPage Foundation Russell Investments $3,000 – $4,999 Clowes Fund, Inc. Sam and Peggy Grossman Family U.S. Bank Foundation Encore Media Group † Amphion Foundation Foundation Weill Music Institute † Garvey Schubert Barer † The Capital Grille † Steinway & Sons Seattle/Bellevue ◊ Anonymous J.P. Morgan Chase & Co. Fast Water Heater Talking Rain † Nordstrom GE Foundation Matching Gifts Treveri Cellars † $5,000 – $9,999 Peach Foundation Genworth Foundation Tulalip Tribes Charitable Fund Seattle Cancer Care Alliance AETNA Google Matching Gifts Wilson Sonsini Goodrich Wells Fargo Private Bank Apex Foundation IBM International Foundation & Rosati Foundation Atsuhiko & Ina Goodwin Tateuchi Schwabe, Williamson & Wyatt Foundation $15,000 – $24,999 Thurston Charitable Foundation Bank of America † In-Kind Support Ann and Gordon Getty Foundation and Wyman Youth Trust Bellevue Children’s Academy ◊ Financial and In-Kind Support the League of American Orchestras The Benaroya Company Chihuly Studio † $1,000 – $2,999 Brown Bear Car Wash Elizabeth McGraw Foundation Acción Cultural Espagñola Citi Community Capital Estates Wine Room ◊ Alfred & Tillie Shemanski Trust Fund Davis Wright Tremaine Sheri and Les Biller Family Foundation BNY Mellon Dover Corporation Wild Ginger Restaurant † Brandon Patoc Photography † D.V. & Ida McEachern Charitable Trust Chihuly Studio

GOVERNMENT SUPPORT

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

encoreartsseattle.com 45 SEATTLE SYMPHONY YOUR GUIDE TO THE SEATTLE SYMPHONY SPECIAL EVENTS SPONSORS & COMMITTEES

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

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

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

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

46 SEATTLESYMPHONY.ORG THE LIS(Z)T SEEN & HEARD @ THE SEATTLE SYMPHONY seattlesymphony.org/liszt Photos: Brandon Patoc Brandon Photos:

MENTORING THE NEXT GENERATION OF MUSICIANS On January 29, 2017 the Seattle Symphony performed a In addition to Roosevelt High School, this season the Side-by-Side Concert with the Roosevelt High School Symphony performed side-by-side with West Seattle orchestras, part of the Symphony’s broader Community Community Orchestra at Chief Sealth International High Concerts program. Students rehearsed and performed School, with Garfield High School, and with the University alongside musicians of the Seattle Symphony, providing of Washington Symphony Orchestra at Meany Hall. The an enriching mentoring opportunity. The concert featured orchestra also performed at Des Moines Beach Park Andrew Angelos, a recent alumnus of Roosevelt High School Auditorium. All Community Concerts are free and open who is currently a freshman at the Manhattan School of Music to the public.

studying French horn performance. Angelos, a former student PHOTOS: All photos taken at the Seattle Symphony’s January 29, 2017 of Seattle Symphony Associate Principal Horn Mark Robbins, Side-by-Side Concert with Roosevelt High School, conducted by Music performed Paul Dukas’ Villanelle for Horn and Orchestra. Director Ludovic Morlot and Roosevelt High School Director Anna Edwards.

The Seattle Symphony’s Family, School & Community programs are supported by 4Culture, the Ann and Gordon Getty Foundation, The Boeing Company, Citi Community Capital, The Clowes Fund, Inc., the Elizabeth McGraw Foundation, KeyBank Foundation, the League of American Orchestras, Richard and Francine Loeb, Kjristine Lund, D.V. and Ida J. McEachern Charitable Trust, the Merriman Family Fund, Music4Life, the Muckleshoot Indian Tribe, Music Works Northwest, the National Endowment for the Arts, Peach Foundation, the Peg and Rick Young Foundation, Russell Investments, Seattle Pacific University, the Seattle Office of Arts & Culture, The Sheri and Les Biller Family Foundation, Christine and Michel Suignard, Ten Grands Seattle, Tulalip Tribes Charitable Fund, the U.S. Bank Foundation, UW Autism Center, Weill Music Institute, Wells Fargo Foundation, the Wilson Sonsini Goodrich & Rosati Foundation, the Wyman Youth Trust and individual contributions to the Seattle Symphony Annual Fund.

encoreartsseattle.com 47 My wealth. My priorities. My partner.

You’ve spent your life accumulating wealth. And, no doubt, that wealth now takes many forms, sits in many places, and is managed by many advisors. Unfortunately, that kind of fragmentation creates gaps that can hold your wealth back from its full potential. The Private Bank can help.

The Private Bank uses a proprietary approach called the LIFE Wealth Cycle SM to find those gaps—and help you achieve what is important to you.

To learn more, contact: Lisa Roberts Managing Director, Private Wealth Management 415-705-7159 [email protected] or visit unionbank.com/theprivatebank

Wills, trusts, foundations, and wealth planning strategies have legal, tax, accounting, and other implications. Clients should consult a legal or tax advisor. ©2017 MUFG Union Bank, N.A. All rights reserved. Member FDIC. Union Bank is a registered trademark and brand name of MUFG Union Bank, N.A.

EAP full-page template.indd 1 2/14/17 12:15 PM