MARCH 2018

LUDOVIC MORLOT, MUSIC DIRECTOR

JEREMY DENK P L AYS BEETHOVEN

WORLD PREMIERE J O H N LUTHER ADAMS BECOME DESERT

LOOKING AHEAD PERSEPHONE CONTENTS Photo: Patoc Brandon

“At a young age I discovered a love for music that has stayed with me my whole life. I give because I feel a sense of personal responsibility — and pride — for our , and because I care so much that future generations will experience and love this music as much as I do.” – Keith, proud supporter and Symphony ambassador at Microsoft

JOIN KEITH 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 CONTENTS MARCH 2018

4 / CALENDAR

6 / THE SYMPHONY

10 / NEWS

FEATURES 12 / PERSEPHONE

14 / A BOLD NEW SEASON

CONCERTS 17 / March 1, 3 & 4 MOZART CONCERTO NO. 3

20 / March 9 HAYDN & SCHUBERT

22 / March 15, 17 & 18 CARMINA BURANA

36 / March 16 DE FALLA UNTUXED

38 / March 19 JOSEPH ADAM IN RECITAL

40 / March 22, 24 & 25 SIBELIUS SYMPHONY NO. 2

43 / March 29 & 31 22 / RAQUEL LOJENDIO BECOME DESERT Photo: Michal Novak Michal Photo: 47 / March 30 BEETHOVEN EMPEROR CONCERTO

48 / March 30 BEETHOVEN & KANCHELI

58 / GUIDE TO THE SEATTLE SYMPHONY

59 / THE LIS(Z)T 17 / THOMAS ZEHETMAIR 22 / SEATTLE SYMPHONY CHORALE Photo: Photo: Tso Jerome Photo: Julien Mignot Julien Photo:

ON THE COVER: Jeremy Denk (p. 43) by Michael Wilson COVER DESIGN: Helen Hodges EDITOR: Heidi Staub

© 2018 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.

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SUNDAY MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY SATURDAY

■ MARCH 8pm 7:30pm 7pm Live @ Benaroya Hall: Seattle Classic Guitar Haller Lake Lúnasa Society: Xuefei Yang Community Concert 8pm 7:30pm Mozart Violin Mozart Violin Concerto No. 3 Concerto No. 3 1 2 3

1pm 7:30pm 7pm 5:30pm 12pm 8pm Metropolitan Opera Seattle Arts & Friends Open Be Bold Seattle: Haydn & Schubert Live @ Benaroya Hall: National Council Lectures: Daniel Pink Rehearsal* International Women’s Celebrating David Auditions Day 7:30pm Bowie Ensign Symphony 2pm & Chorus presents Mozart Violin NATIONAL Hold On Concerto No. 3 4 5 6 GEOGRAPHIC LIVE 7 8 9 10

2pm 7:30pm 7:30pm 7:30pm 7pm 7:30pm National Geographic National Geographic National Geographic Carmina burana De Falla Untuxed Seattle Baroque Live — A Wild Life Live — A Wild Life Live — A Wild Life Orchestra: The Fairy 7:30pm Queen Northwest Sinfonietta presents Inspirations 8pm from the Past Carmina burana 11 12 13 14 15 16 17

2pm Carmina burana 7:30pm 7:30pm 8pm 2 & 8pm Joseph Adam in Sibelius Symphony Showtunes Theatre Showtunes Theatre 7pm Byron Recital No. 2 Company: The Boys Company: The Boys Schenkman & From Syracuse From Syracuse Friends — Beethoven: The Kreutzer and 8pm Sibelius Pathetique Sonatas Symphony No. 2 18 19 20 21 22 23 24

2pm Sibelius 4pm 3:30pm 7:30pm 12pm Beethoven 2pm Symphony No. 2 Annual Meeting* Friends Onstage John Luther Adams Emperor Concerto Seattle Philharmonic 2pm Showtunes Rehearsal* Become Desert 7:30pm Seattle Arts presents The Fifth Theatre Company: The & Lectures: Lippman Evangelist Boys From Syracuse & Simon 8pm 8pm Beethoven & John Luther Adams Kancheli 25 26 27 28 29 30 Become Desert 31 Seattle Symphony Spring Tour (see p. 10) ■ APRIL 8pm Enchanting China 8pm Live @ Benaroya Hall: Sarah Vowell & Michael Giacchino

1 2 3 4 5 6 7 Spring Tour cont’d 7:30pm 1pm 8pm 8pm 2pm National National Geographic Benaroya Hall Tour The Duke Ellington The Duke Ellington Geographic Live Live — Standing at the Orchestra Orchestra 2:30pm Seattle Water’s Edge 7:30pm Baroque Orchestra National Geographic 7:30pm An Evening Live — Standing at the with Anne Lamott Water’s Edge 8 9 10 11 12 13 14

2pm 7:30pm 10:30am 9:30, 10:30 & 11:30am The Duke Ellington Debussy La mer Tiny Tots: Magical Tiny Tots: Magical Orchestra Melody Train Ride! Melody Train Ride! 7:30pm SRJO: 7pm Ellington’s Such Debussy Untuxed Sweet Thunder 8pm Debussy 15 16 17 18 19 20 La mer 21

3pm SYSO: All-Brahms 7:30pm 7:30pm 10pm 8pm 7pm Byron Schenkman Live @ Benaroya Hall: Stravinsky [untitled] 2 Stravinsky & Friends: Vivaldi and Bettye LaVette Persephone Persephone the High Baroque 22 23

10am Planned Giving Seminar* 29 30 24 25 26 27 28

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National Geographic Live — A Wild Life (March 11–13) by Bertie Gregory 4 SEATTLESYMPHONY.ORG

SSO078-Calendar.indd 1 2/14/18 9:46 AM ■ ON THE BEAT See Who’s Here BASKETRY IN AMERICA to Hear February 3 - May 6, 2018 A traveling exhibition show- casing 93 traditional and contemporary baskets. See it at the Whatcom Museum, Bellingham, Wash.

Marilyn Moore, Balance, 2014. www.whatcommuseum.org Photo: James Holt James Photo:

I’m an architect. My interest in architecture began as a kid running around the forest, making treehouses. This one time I tried weaving sticks together. You would normally think about a treehouse being about nails and wood, but when I realized you could weave stuff, I thought it was so cool. That approach to design has stayed with me. I start by looking at the materials around me. And I Private Client & Luxury Real Estate like going to concerts to find inspiration. And not just going to the Symphony. It might be going to Neumos on Capitol Hill or going on a road trip to Bainbridge Island and listening to the sound of the

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encoremediagroup.com/programs 5 LUDOVIC MORLOT SEATTLE SYMPHONY MUSIC DIRECTOR

French conductor Ludovic at the University of California, Berkeley. The orchestra has Morlot has been Music Director many successful recordings, available on their own label, of the Seattle Symphony Seattle Symphony Media. A box set of music by Dutilleux since 2011. Amongst the was recently released to mark the 100th anniversary of the many highlights of his tenure, ’s birth. the orchestra has won three Grammy Awards and gave an Ludovic Morlot was Chief Conductor of La Monnaie for exhilarating performance at three years (2012–14). During this time he conducted several Carnegie Hall in 2014. new productions including La Clemenza di Tito, Jenu°fa and Pelléas et Mélisande. Concert performances, both During the 2017–2018 in Brussels and Aix-en-Provence, included repertoire by season Morlot and the Beethoven, Stravinsky, Britten, Webern and Bruneau. Seattle Symphony will continue on their incredible Trained as a violinist, Morlot studied conducting at the musical journey, focusing Royal Academy of Music in London and then at the Royal

Photo: Lisa-Marie Mazzucco Lisa-Marie Photo: particularly on the music College of Music as recipient of the Norman del Mar of Berlioz, Stravinsky and Conducting Fellowship. Morlot was elected a Fellow of Bernstein. In addition, they will be presenting some exciting new the Royal Academy of Music in 2014 in recognition of his works by John Luther Adams, David Lang and Andrew Norman and significant contribution to music. He is Chair of Orchestral welcoming Alexandra Gardner for a residency. The orchestra will also Conducting Studies at the University of Washington School be performing on tour in California, including a two-day residency of Music.

SEATTLE SYMPHONY ORCHESTRA ROSTER

LUDOVIC MORLOT , 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 PICCOLO HORN HARP Open Position Timothy Hale Zartouhi Dombourian-Eby Jeffrey Fair Valerie Muzzolini Gordon David & Amy Fulton Concertmaster Penelope Crane Robert & Clodagh Ash Piccolo Charles Simonyi Principal Horn Principal Open Position Wes Dyring Mark Robbins Clowes Family Associate Concertmaster Sayaka Kokubo Associate Principal KEYBOARD Cordula Merks Rachel Swerdlow Mary Lynch Jonathan Karschney Joseph Adam, organ + Assistant Concertmaster Julie Whitton Principal Assistant Principal Simon James Supported by anonymous donors Jenna Breen PERSONNEL MANAGER Second Assistant Concertmaster Ben Hausmann John Turman Scott Wilson Jennifer Bai Efe Baltacıgil Associate Principal Danielle Kuhlmann Mariel Bailey Marks Family Foundation Principal Cello Chengwen Winnie Lai ASSISTANT PERSONNEL Cecilia Poellein Buss Meeka Quan DiLorenzo Stefan Farkas MANAGER Ayako Gamo Assistant Principal David Gordon Keith Higgins Timothy Garland Nathan Chan ENGLISH HORN The Boeing Company Principal Trumpet Leonid Keylin Eric Han Stefan Farkas Alexander White LIBRARY Mae Lin Bruce Bailey Assistant Principal Patricia Takahashi-Blayney Mikhail Shmidt Roberta Hansen Downey Christopher Stingle Principal Librarian Clark Story Walter Gray Benjamin Lulich Michael Myers Robert Olivia John Weller Vivian Gu Mr. & Mrs. Paul R. Smith Principal Associate Librarian Jeannie Wells Yablonsky Joy Payton-Stevens Clarinet Jeanne Case Emil Khudyev Arthur Zadinsky David Sabee Ko-ichiro Yamamoto Librarian Associate Principal Principal Rachel Swerdlow SECOND VIOLIN BASS Laura DeLuca David Lawrence Ritt Assistant Librarian Elisa Barston Jordan Anderson Dr. Robert Wallace Clarinet Stephen Fissel Principal Mr. & Mrs. Harold H. Heath Eric Jacobs TECHNICAL DIRECTOR Michael Miropolsky Principal String Bass Joseph E. Cook BASS TROMBONE John & Carmen Delo Joseph Kaufman E-FLAT CLARINET Stephen Fissel ARTIST IN ASSOCIATION Assistant Principal Second Violin Assistant Principal Laura DeLuca Dale Chihuly Kathleen Boyer Ted Botsford ** Gennady Filimonov Jonathan Burnstein 2017–2018 SEASON John DiCesare Evan Anderson Brendan Fitzgerald * COMPOSER IN RESIDENCE Eric Jacobs Principal Alexandra Gardner Natasha Bazhanov Jennifer Godfrey Brittany Boulding Breeden Travis Gore HONORARY MEMBER Stephen Bryant Jonathan Green Cyril M. Harris † Linda Cole Seth Krimsky Open Position Principal Xiao-po Fei Principal Paul Rafanelli + Artur Girsky Demarre McGill Matthew Decker Resident Mike Gamburg Andy Liang Principal Assistant Principal † In Memoriam Andrew Yeung Supported by David J. and Shelley Hovind ** On Leave PERCUSSION Jeffrey Barker * Temporary Musician for 2017–2018 Associate Principal Mike Gamburg Michael A. Werner season Susan Gulkis Assadi Judy Washburn Kriewall Principal PONCHO Principal Viola Zartouhi Dombourian-Eby Michael Clark Arie Schächter Matthew Decker Assistant Principal

6 SEATTLESYMPHONY.ORG ■ KATHLEEN BOYER Second Violin Photo: James Holt James Photo:

“When I was a little girl I wanted to play in the orchestra. It just seemed like the most incredible thing,” says Kathleen Boyer, Seattle Symphony Second Violin. “But my parents didn’t believe in sending girls to college, so I didn’t think I would ever be able to pursue it.”

Through her church organist, Jane, Kathleen was introduced to a woman who wanted to create a scholarship in honor of her son. “Jane knew my playing from church and convinced this woman to send me to school,” she explains. It was a difficult choice. Against the wishes of her parents, Kathleen attended Moravian College to study violin, later continuing her studies with Jascha Brodsky in Philadelphia and winning an audition to join the Seattle Symphony in 1985.

Today Kathleen is proud to have given her children the opportunities she did not have growing up. Her daughter is studying harp at Yale and her son plays trumpet with jazz groups in New York. “I suppose it’s silly, but I’m super proud of my kids,” says Kathleen. “I consider it a huge compliment that they both chose to go into music.”

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

encoremediagroup.com/programs 7 ■ SIMPLE GIFTS Street Youth Ministries

Street Youth Ministries provides youth in Seattle’s University District with life skills, resources and relationships that bring hope and healing to their lives and the community. Street Youth Ministries is committed to building personal relationships with youth and restoring their sense of self-worth.

The Seattle Symphony has been partnering with Street Youth Ministries since the 2014–2015 season and the people that they serve have access to complimentary tickets through the Community Connections program.

Street Youth Ministries is one of 18 partners in the Seattle Symphony’s Simple Gifts initiative which brings the healing power of music to those who have previously experienced or are currently experiencing homelessness. Photo courtesy of Street Youth Ministries Youth courtesyPhoto of Street

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

SEATTLE SYMPHONY BOARD OF DIRECTORS

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

DIRECTORS Viren Kamdar Open Position, David Davis Marlys Palumbo Marco Abbruzzese Ronald Koo President & CEO Nancy Evans Sally Phinny Sherry Benaroya Ryo Kubota Zartouhi Dombourian-Eby, Dorothy Fluke James Raisbeck Musician Representative James Bianco Stephen Kutz David Fulton Sue Raschella Jonathan Karschney, Ned Laird* Jean Gardner Bernice Rind Paula Boggs Musician Representative Rosanna Bowles Paul Leach* Ruth Gerberding Jill Ruckelshaus Renée Brisbois Brian Marks LIFETIME DIRECTORS James Gillick Jon Runstad Isiaah Crawford Michael Mitrovich Llewelyn Pritchard Jerry Grinstein Martin Selig Susan Detweiler Hisayo Nakajima Chair Patty Hall John F. Shaw Rebecca Ebsworth Cookie Neil Richard Albrecht Cathi Hatch Linda Stevens Larry Estrada Nancy Neraas Susan Armstrong Steven Hill Patricia Tall-Takacs Jerry Farley Laurel Nesholm* Robert Ash Ken Hollingsworth Marcus Tsutakawa Molly Gabel Jay Picard William Bain Patricia Holmes Cyrus Vance, Jr. Martin Greene Dana Reid* Bruce Baker David Hovind Karla Waterman Jeremy Griffin Elisabeth Beers Sandler Cynthia Bayley Henry James Ronald Woodard Terry Hecker Jim Schwab Alexandra Brookshire Hubert Locke Arlene Wright Jean-François Heitz* Robert Wallace Phyllis Byrdwell J. Pierre Loebel Joaquin Hernandez Phyllis Campbell Kenneth Martin DESIGNEES Parul Houlahan* Mary Ann Champion Yoshi Minegishi * Executive Committee Member Douglas Jackson Sasha S. Philip, President, Robert Collett Marilyn Morgan Susan Johannsen Seattle Symphony Chorale Isa Nelson Aimee Johnson Bonnie Peterson, President, Nader Kabbani Seattle Symphony Volunteers

SEATTLE SYMPHONY FOUNDATION BOARD OF DIRECTORS

JEAN-FRANÇOIS HEITZ Kathleen Wright Vice Chair Mario Abbruzzese Leslie Jackson Chihuly David Tan Chair Muriel Van Housen Secretary Brian Grant J. Pierre Loebel Rick White Michael Slonski Treasurer Joaquin Hernandez

BENAROYA HALL BOARD OF DIRECTORS

NED LAIRD Chair Mark Reddington Vice Chair Dwight Dively Tom Owens Designees: Nancy B. Evans Secretary Jim Duncan Fred Podesta Open Position, President & CEO Michael Slonski Treasurer Chris Martin Leo van Dorp Zartouhi Dombourian-Eby, Musician Representative

8 SEATTLESYMPHONY.ORG SEATTLE SYMPHONY | BENAROYA HALL ADMINISTRATIVE STAFF

SENIOR MANAGEMENT TEAM Katie Hovde Laura Banks, Everett Bowling, Open Position Program Associate Veronica Boyer President & CEO Rebecca Aitken, Jessica Andrews- Assistant Head Ushers Leslie Jackson Chihuly Chair Hall, Lena Console, Kaley Eaton, Ron Hyder Charlie Wade Sonya Harris, Jessi Harvey, Technical Coordinator Rafael Howell, Zachary Kambour, Senior Vice President of Marketing Emily Herdeman Kelly, Leanna Keith, & Business Operations DEVELOPMENT Paul Kikuchi, Leslie McMichael Jennifer Adair Teaching Artists Renee Duprel Vice President & General Manager Associate Vice President of Development (Campaign) Maureen Campbell Melville COMMUNICATIONS Maria Kolby Wolfe Vice President & Chief Financial Officer Shiva Shafii Major Gifts Officer (Campaign) Rosalie Contreras Public Relations Manager Betsy Groat Vice President of Communications Heidi Staub Campaign Operations Manager Elena Dubinets Managing Editor Tess Benson Vice President of Artistic Planning James Holt & Creative Projects Development Coordinator (Campaign) Digital Content Manager Jane Hargraft Becky Kowals Andrew Stiefel Vice President of Development Director of Major Gifts and Planned Giving Social Media & Content Manager Laura Reynolds Marsha Wolf Vice President of Education & Community MARKETING Senior Major Gift Officer Engagement Christy Wood Amy Bokanev Kristen NyQuist 35 Senior Director of Marketing & Sales Major Gift Officer Director of Board Relations Shaina Shepherd & Strategic Initiatives Rachel Spain Marketing Manager Gift Officer Jessica Lee EXECUTIVE OFFICE Kyle Painter Development Coordinator (Major Gifts) Margaret Holsinger Marketing Operations Coordinator Executive Assistant to the President & CEO/ Barry Lalonde Paul Gjording Office Manager Director of Digital Products Senior Major Gift Officer (Foundations & Government Relations) Jason Huynh Megan Hall ARTISTIC PLANNING Digital Marketing Manager Director of Development Operations Paige Gilbert Herb Burke Alicia Archambault Manager of Artistic Planning & Popular Tessitura Manager Programming Stewardship Manager Gerry Kunkel Martin K. Johansson Rose Gear Corporate & Concierge Accounts Manager Personal Assistant to the Music Director & Development Communications Manager Jessica Forsythe Artistic Coordinator Jacob Roy Art Director Dmitriy Lipay Data Operations Manager frans.com Helen Hodges, Jadzia Parker Director of Audio & Recording Maery Simmons Graphic Designers Blaine Inafuku Data Entry Coordinator Forrest Schofield Associate Artistic Administrator Jhenn Whalen Group Services Manager Annual Fund Coordinator Joe Brock ORCHESTRA & OPERATIONS Zoe Funai Retail Manager Kelly Woodhouse Boston Special Events Manager Director of Operations Christina Hajdu Ryan Hicks Sales Associate Ana Hinz Corporate Development Manager Production Manager Nina Cesaratto Assistant Sales Manager Scott Wilson FINANCE & FACILITIES Molly Gillette Personnel Manager David Nevens Ticket Office Coordinator Keith Higgins Controller Asma Ahmed, Mary Austin, Assistant Personnel Manager Megan Spielbusch James Bean, Jennifer Boyer, JOIN US! Patricia Takahashi-Blayney Melissa Bryant, Kimberly Carey, Accounting Manager Principal Librarian Brian Goodwin, Mike Obermeyer, Jacqueline Moravec THE NORTHWEST BOYCHOIR IS Robert Olivia CaraBeth Wilson, Elizabeth Ylaya Payroll/AP Accountant Associate Librarian Ticket Services Associates Jordan Bromley SERIOUS FUN! Jeanne Case Staff Accountant VENUE ADMINISTRATION Librarian Tristan Saario Joseph E. Cook Matt Laughlin Staff Revenue Accountant Director of Facility Sales Technical Director Bernel Goldberg Mark Anderson, Jeff Lincoln James Frounfelter, Adam Moomey General Counsel Event & Operations Managers Assistant Technical Directors David Ling Johnny Baca, Sophia El-Wakil Facilities Director Chris Dinon, Facilities Sales & Operations Coordinator Owen Santos Aaron Gorseth, Keith Godfrey Facilities & Engineering Manager John Roberson, House Manager Michael Schienbein, Aaron Burns, Damien De Witte Ira Seigel Tanya Wanchena Building Engineers Assistant House Manager & Usher Scheduler Stage Technicians Rodney Kretzer Milicent Savage, Patrick Weigel Facilities & Security Coordinator EDUCATION & Assistant House Managers COMMUNITY ENGAGEMENT Dawn Hathaway, Lynn Lambie, Mel HUMAN RESOURCES Amy Heald Longley, Ryan Marsh, Markus Rook Kathryn Osburn Collaborative Learning Manager Head Ushers Human Resources Manager Jérémy Jolley Karya Schanilec Artistic Collaborations Manager Receptionist/Marketing Assistant

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of Lynn and Brian Grant. Brian and Lynn of {

seattlesymphony.org/subscribe to find the subscription that’s right for you. for right that’s subscription the find to seattlesymphony.org/subscribe

by the Seattle Symphony with the generous support support generous the with Symphony Seattle the by

seats by renewing today. Interested in subscribing? Pick up a season brochure or visit visit or brochure season a up Pick subscribing? in Interested today. renewing by seats was commissioned commissioned was Ocean Become Chihuly. Leslie

Symphony with the generous support of Dale and and Dale of support generous the with Symphony 2019 season! Renewal deadline for current subscribers is March 31, so secure your your secure so 31, March is subscribers current for deadline Renewal season! 2019

is commissioned by the Seattle Seattle the by commissioned is Desert Become

You won’t want to miss a moment of the 2018– the of moment a miss to want won’t You SUBSCRIBE TO THE MUSIC YOU LOVE LOVE YOU MUSIC THE TO SUBSCRIBE No. 5, “Emperor” with Jeremy Denk. Denk. Jeremy with “Emperor” 5, No.

including Beethoven’s Concerto Concerto Piano Beethoven’s including { {

29 and 31 at Benaroya Hall, in a program program a in Hall, Benaroya at 31 and 29

seattlesymphony.org/stories label. Records Bridge the on month last released

on March March on Desert Become Adams’ Luther

previously unrecorded works by Pulitzer Prize-winning American composer George Perle, Perle, George composer American Prize-winning Pulitzer by works unrecorded previously

will give the world premiere of John John of premiere world the give will

Ludovic Morlot and the Seattle Symphony present five five present Symphony Seattle the and Morlot Ludovic NEW GEORGE PERLE RECORDING PERLE GEORGE NEW

Ludovic Morlot and the Seattle Symphony Symphony Seattle the and Morlot Ludovic

[email protected].

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Donor Relations at 206.215.4832 or or 206.215.4832 at Relations Donor

and Berkeley concerts, contact contact concerts, Berkeley and

around the orchestra's Palm Desert Desert Palm orchestra's the around

For information about patron activities activities patron about information For

Symphony is coming to town! town! to coming is Symphony

areas, let them know the Seattle Seattle the know them let areas,

If you have family and friends in these these in friends and family have you If

Become Ocean Become ADAMS: LUTHER JOHN

Seattle Symphony Board Chair Board Symphony Seattle Peter Grimes Peter from Passacaglia

Leslie Jackson Chihuly Chihuly Jackson Leslie and and Interludes Sea Four BRITTEN:

The Oceanides The SIBELIUS: With gratitude, gratitude, With

Zellerbach Hall | Berkeley, CA Berkeley, | Hall Zellerbach

seattlesymphony.org to see all that’s in store. in that’s all see to seattlesymphony.org

Sunday, April 8, at 3pm at 8, April Sunday,

on page 14 or pick up a 2018–2019 season brochure here at the Hall or visit visit or Hall the at here brochure season 2018–2019 a up pick or 14 page on

together with a particular emphasis on French music. Discover his highlights highlights his Discover music. French on emphasis particular a with together

SIBELIUS: Symphony No. 2 2 No. Symphony SIBELIUS:

past seven years, building on what he and the orchestra have accomplished accomplished have orchestra the and he what on building years, seven past

Become Desert Become ADAMS: LUTHER JOHN

of music-making. The 2018–2019 season is a wonderful celebration of the the of celebration wonderful a is season 2018–2019 The music-making. of

Symphony’s Music Director, which promises to be another outstanding year year outstanding another be to promises which Director, Music Symphony’s Zellerbach Hall | Berkeley, CA Berkeley, | Hall Zellerbach

Subscriptions are now available for Ludovic Morlot’s final season as the the as season final Morlot’s Ludovic for available now are Subscriptions Saturday, April 7, at 8pm at 7, April Saturday,

underserved, including kids, the elderly and those experiencing homelessness. experiencing those and elderly the kids, including underserved, SIBELIUS: Symphony No. 2 No. Symphony SIBELIUS:

of community partners in an effort to give the gift of music to our most most our to music of gift the give to effort an in partners community of Jeremy Denk, piano Denk, Jeremy

for their children. Our teaching artists regularly bring music to dozens dozens to music bring regularly artists teaching Our children. their for “Emperor”

BEETHOVEN: Piano Concerto No. 5, 5, No. Concerto Piano BEETHOVEN: mothers at Mary’s Place who learn to express themselves through lullabies lullabies through themselves express to learn who Place Mary’s at mothers

time to presenting chamber concerts in prisons and collaborating with with collaborating and prisons in concerts chamber presenting to time

Las Vegas, NV Vegas, Las

musicians are dedicated to their work in the community. They commit their their commit They community. the in work their to dedicated are musicians

Hall Concert Ham W. Artemus

As our organization finds new ways to serve, engage and inspire, our our inspire, and engage serve, to ways new finds organization our As

Thursday, April 5, at 7:30pm at 5, April Thursday,

our state. our McCallum Theatre | Palm Desert, CA Desert, Palm | Theatre McCallum

program continues to expand, reaching more schools and kids every year in in year every kids and schools more reaching expand, to continues program SOLD OUT SOLD

7:30pm at 4, April Wednesday, invaluable experience for these students, and I am happy to report that the the that report to happy am I and students, these for experience invaluable

play along with our orchestra from their seats. This is an unforgettable and and unforgettable an is This seats. their from orchestra our with along play

activities on campus at UC Berkeley. Berkeley. UC at campus on activities

preparation culminates in a live performance at Benaroya Hall when students students when Hall Benaroya at performance live a in culminates preparation

consecutive days, as well as additional additional as well as days, consecutive

songs to sing and play on the recorder. This This recorder. the on play and sing to songs on on Ocean Become and Desert Become

music through participatory curriculum learning learning curriculum participatory through music

back performances of John Luther Adams’ Adams’ Luther John of performances back Photo: ScottLeen

students have the opportunity to experience experience to opportunity the have students

Berkeley that includes unique back-to- unique includes that Berkeley

program, Puget Sound elementary school school elementary Sound Puget program, residency at the University of California, California, of University the at residency

gathering at Benaroya Hall. Through this this Through Hall. Benaroya at gathering are joined by pianist Jeremy Denk, and a a and Denk, Jeremy pianist by joined are

month with 10,000 third to fifth grade students students grade fifth to third 10,000 with month in Palm Desert and Las Vegas, where they they where Vegas, Las and Desert Palm in

head south April 4–8 with performances performances with 4–8 April south head Link Up: Seattle Symphony wraps up this this up wraps Symphony Seattle Up: Link

Ludovic Morlot and the Seattle Symphony Symphony Seattle the and Morlot Ludovic

Welcome to Benaroya Hall. Hall. Benaroya to Welcome

Berkeley

Vegas Las

LESLIE JACKSON CHIHULY, BOARD CHAIR BOARD CHIHULY, JACKSON LESLIE

Desert Palm

NEWS FROM: NEWS

PIG TOUR SPRING

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encoremediagroup.com/programs 11 PERSEPHONE Puppet designer Michael Curry vividly animates Stravinsky’s dramatization of the ancient Greek myth.

BY ANDREW STIEFEL

When the Seattle Symphony presents Stravinsky’s Persephone in Stravinsky’s version, with a libretto by André Gide, Persephone on April 26 and 28, the orchestra and chorale will be joined by descends to the underworld as an act of compassion. some larger-than-life characters — puppets created by esteemed director and designer Michael Curry. “Persephone was the ultimate puppet because she was so manipulated by the gods,” Curry muses. “But one thing we Produced in his studio outside Portland, Oregon, Curry’s work has decided is that we wanted to empower Persephone in our been seen around the world in productions for Disney, Cirque du version. She wasn’t going to be a victim.” Soleil, the Olympics and even the Super Bowl. Yet, until the co- commission from the Seattle Symphony and Oregon Symphony, he Curry’s production interchanges puppets and humans in a had not had a performance in the Northwest for more than 15 years. way that heightens the illusion of two worlds. Persephone, for example, is played by both a dancer and a puppet. To accentuate So the self-described “Stravinsky maniac” was eager to take on the duality of the character, Curry built the puppet to be an exact the project, which received its premiere by the Oregon Symphony likeness of the dancer, who in turns wears a mask of the puppet’s last May. “I love Stravinsky and I think this piece is under face. “I guess it’s a backward compliment, but many people told presented,” says Curry. “Persephone is sort of the ugly cousin of me that they didn’t realize there was a puppet Persephone when Stravinsky’s oeuvre because it tells a complicated story.” we did the production in Oregon,” he laughs.

The story is a retelling of the ancient Greek myth in which Hades, He is making some alterations for the performances with the god of the underworld, kidnaps Persephone, the daughter of Seattle Symphony at Benaroya Hall, including introducing an Demeter, goddess of the harvest. Hades imprisons Persephone additional dancer to play Pluto. “I’m very intrigued by Pluto and I in the underworld, leaving Earth frozen in perpetual winter. want to give him some depth,” he explains. “I want to emphasize In classical mythology, the abduction of Persephone and her this notion of the loneliness and the need of the underworld to subsequent rescue explain the rotation of winter and spring. But be recognized.”

12 SEATTLESYMPHONY.ORG Photo courtesy of Michael Curry Designs Russian influences, Morlotashasinvitedthe historic Dmitry traditional Russian weddingsongs.To highlighttheseearly folk musicforinspiration and,inLes noces,hesetslyricsfrom and Les noces . Throughouthislife, Stravinsky turnedtoRussian for PianoandWindInstruments withpianistMarc-AndréHamelin programmed afulleveningof his musicincludingtheConcerto To deepenourexperiencewith Stravinsky, Morlot has he says.“Itmodernizeswhatconcert presentationscanbe.” the wayofmusic,whichisbeautiful,buttohelptellthisstory,” magical, timelessatmospheretothestory. “Mygoalistonotgetin orange andyellowflowersfortheearth.Andpuppetryadds a blue andvioletfortheunderworldverdantgreenfilled with bright colorsthatstandoutagainsttheblackoforchestra: The finalresultisstunning.Curry’s designsaresaturatedwith instrument, anothercharacter.” ballet highabovetheorchestra.“Thestagingbecomesanother point duringtheshow, Persephone engagesinabeautifulaerial action, makingitclearthatthisisahumanstory,” headds.At one Boychoir. “Thechorusisastagingelementthathelpsframethe addition totheSeattleSymphony ChoraleandtheNorthwest The productioninvolvesmultiplepuppetsandhandlersin and humansinawaythat heightens theillusionof Music Director’s Fund. Support forStravinsky’s Persephone isgenerouslyprovided bytheJudithFong Van HousenandTom McQuaid. Marc-André Hamelin’s performances aregenerouslyunderwrittenbyMuriel at theTicket Officeorbycalling206.215.4747. get tickets, orpurchaseonourListenBoldly app, online, in-person most performances)beforeyour concertorduringintermissionto Stop bytheTicket ConciergeintheGrandLobby (availablefor continue theexplorationofhismusic.” Stravinsky, butsometimeswestopathisballetswhenshould these differentjewelsforustodiscover. We’ve grownsofondof Morlot adds,“Stravinsky reallytried everythingandcreatesall performing theserapidlydisappearingtraditions. traveled thelengthandbreadthofRussia,documenting preservation oftraditionalRussianmusic.Themusicianshave group ofprofessionalmusiciansdevotedtotheperformance and Founded in1973,theDmitryPokrovsky Ensemblewasthefirst percussion versionofLes noces. Pokrovsky Ensembletoperformtheoriginalfourpianoand interchanges puppets Curry’s production Curry’s two worlds.

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Photos by Brud Giles of the Oregon Symphony’s performance in 2017 A BOLD NEW SEASON Music Director Ludovic Morlot’s farewell season celebrates eight transformative years.

BY ANDREW STIEFEL

“When I was thinking about my final season, and all the emotions involved, I wanted to include music about completing a journey, to summarize these eight years together with music.”

including the Suite from Pelléas et Mélisande. Our focus on French repertoire naturally continues into the music of my dear friend, Marc-André Dalbavie, and the premiere of a double concerto by Pascal Dusapin.

Photo by Lisa-Marie Mazzucco Lisa-Marie by Photo Which artists are you looking forward to welcoming to Seattle next season? Music Director Ludovic Morlot’s final season is filled with the music, and performers that have energized There are always so many! Pianist Jean-Yves Thibaudet, violinist musicians and audiences alike during his tenure. Augustin Hadelich, tenor Kenneth Tarver and pianist Jonathan Biss are all returning. And I love featuring our musicians as soloists. I am With his flair for intriguing pairings, Morlot returns to familiar looking forward to doing Strauss’ Oboe Concerto with Principal Oboe classics during the 2018–2019 season — Brahms First Mary Lynch. Although I will not be conducting, Demarre McGill, David Symphony, Tchaikovsky Fourth Symphony and Mozart’s Gordon, Elisa Barston and Jordan Anderson will all perform on our Symphony No. 40 — and continues his commitment to new Baroque series next season. and creative programming with several world premieres, including Grammy-winning composer ’s new And I’m happy to welcome Principal Guest Conductor Thomas piano concerto. Dausgaard back, now also our Music Director Designate. He’s bringing some wonderful Danish music to Seattle next season, including a But Morlot is most excited about continuing a journey new composer for us, Rued Langgaard. He will also be continuing his through the French repertoire, and in particular the music of Nielsen cycle with the Second Symphony in April 2019. Claude Debussy. You are conducting one of my favorite works, Bach’s B-minor Mass, “Although we’ve done a little bit of music by Debussy, I find next season. What makes it special to you? that it needs to be done with a conductor and orchestra that have a long relationship,” explains Morlot. “Debussy has so Although most of his music was written for the church for religious many different layers. You need to have explored all those occasions, he didn’t write the Mass in B minor for any particular different layers completely before you put them all together.” occasion. It’s the only piece he wrote to leave a legacy behind. When I was thinking about my final season, and all the emotions involved, Could you share a little more about the music you are I wanted to include music about completing a journey, to summarize conducting next season? these eight years together with music.

I want to continue our exploration of French repertoire, Pick up a brochure in the lobby, or visit seattlesymphony.org for more and this season we will be playing several Debussy works, details about the concerts in the upcoming 2018–2019 season.

14 SEATTLESYMPHONY.ORG SAVE THE DATE! WEDNESDAY, MAY 9, 2018 GIVE BIG Make a gift to the SEATTLE SYMPHONY on May 9, 2018 and join the caring family of donors who bring our music to life. One BIG day to support the concerts and musicians you love!

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THURSDAY, MARCH 1, 2018, AT 7:30PM SATURDAY, MARCH 3, 2018, AT 8PM SUNDAY, MARCH 4, 2018, AT 2PM MOZART VIOLIN CONCERTO NO. 3

Thomas Zehetmair, conductor & violin Seattle Symphony

FRANZ JOSEPH HAYDN Symphony No. 49 in F minor, “La passione” 24’ (“The Passion”) Adagio Allegro di molto Menuet Finale: Presto

WOLFGANG AMADEUS Violin Concerto No. 3 in G major, K. 216, 24’ MOZART “Straßburg” Allegro Adagio Rondeau: Allegro THOMAS ZEHETMAIR, VIOLIN INTERMISSION ARVO PÄRT Fratres (“Brothers”) for Solo Violin, 12’ Strings and Percussion THOMAS ZEHETMAIR, VIOLIN

FRANZ SCHUBERT Symphony No. 8 in B minor, “Unfinished” 22’ Allegro moderato Andante con moto

Pre-concert Talk one hour prior to performance. Speaker: Lisa Maria d’Aquila, Music instructor and lecturer

Saturday performance sponsored by Microsoft. Media Sponsor: Classical KING FM 98.1

Microsoft and our employees are proud to support the Seattle Symphony and its programs which bring enriching musical experiences to

Please note that the timings provided for this concert are approximate. people of all ages in the Please turn off all electronic devices and refrain from taking photos or video. Pacific Northwest. Performance ©2018 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. Enjoy the performance!

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Passion & Serenity character. But others reveal considerable Mozart’s prodigal invention is a conspicuous power and drama. The latter qualities inform feature of the opening movement. After Ask most music lovers what it is they particularly a series of stormy minor-key presenting a series of attractive melodic value most in music and the answer Haydn produced in the years ideas in the initial orchestral statement, usually involves the expression of emotion around 1770. Influenced in part by the highly he entrusts the introduction of still more and creation of heightened feeling. The emotional tone of the proto-Romantic Sturm material to the soloist. Many of the ideas orchestral repertory confirms this. Year und Drang (“Storm and Stress”) school entail varieties of musical laughter, imparting after year and across generations, the most of German writers, they anticipate the a bright character to the proceedings. outwardly expressive pieces — those by expressions of deep pathos Mozart and Alfred Einstein, an eminent Mozart scholar, such assertive composers as Beethoven in Beethoven would later achieve. Notable described the concerto’s second movement his heroic-triumphal vein, of Tchaikovsky, of among these works is Symphony No. 49 in as “an adagio that seems to have fallen Rachmaninov and others — remain the most F minor, known as “La passione.” popular with listeners the world over. straight from heaven.” Indeed, the music The origin of this title is uncertain, but it is an seems, if not celestial, certainly ethereal, This is hardly surprising, for music is uncanny apt designation. All four of the symphony’s with the orchestral muted, the low in its ability to convey passion and dramatic movements are in the dark key of F minor, strings playing pizzicato, and replacing intensity to us directly, even viscerally, and a sense of sorrow and agitation prevails. the used in the rest of the concerto. unfiltered by words or intellect. Yet no less Unusually, the symphony’s first movement is As often with his concertos, Mozart builds a musical eminence than the pianist Glenn in a slow tempo. We get the sort of substantial the finale on a recurring main theme that Gould famously identified the true purpose of allegro that usually opens a Classical-period alternates with contrasting material. The art, especially music, as being not the stirring symphony, as well as a tense musical drama, latter includes a popular dance tune, a merry of our emotions but the inducement “of a state in the movement that follows. The ensuing melody known as “The Strassburger.” of wonder and serenity.” minuet maintains the somber atmosphere, Scored for solo violin; pairs of flutes, oboes and horns; Our concert offers passion and drama though its contrasting central section offers an strings. in symphonies by Haydn and Schubert interlude of bright major-key harmonies. The and, by contrast, music whose character finale returns to the tempest-tossed vein of is deeply serene. The latter comes from the second movement. ARVO PÄRT the remarkable Estonian composer Arvo Scored for pairs of oboes and horns; harpsichord; strings. Fratres (“Brothers”) for Solo Violin, Pärt who, after writing his early music in an Strings and Percussion acerbic late-modern idiom, has spent the last 40 years creating work of austere beauty WOLFGANG AMADEUS BORN: September 11, 1935, in Paide, Estonia intimating an imperturbable spirituality. We WORK COMPOSED: 1977, arranged 1992 also hear a concerto by Mozart, music that MOZART WORLD PREMIERE: 1993, in Perth, Australia manages to energize and brighten our spirits Violin Concerto No. 3 in G major, K. 216, without resorting to either high drama or “Straßburg” deep contemplation. The title Fratres is a Latin word BORN: January 27, 1756, in Salzburg meaning “brethren,” and it is not DIED: December 5, 1791, in Vienna difficult to imagine the music played by the orchestral strings as the chanting of a FRANZ JOSEPH HAYDN WORLD PREMIERE: Unknown. Mozart may have performed the work, with the Salzburg Court monastic brotherhood. Onto this music, the Symphony No. 49 in F minor, composer has overlaid a part for solo violin, “La passione” (“The Passion”) Orchestra, of which he was a member, but there is no record of that performance. As noted below, one whose modern individuality provides an intriguing contrast with the archaic sound of BORN: March 31, 1732, in the Austrian village of the composer did play the work on at least one the string choir’s chant. Rohrau subsequent occasion. DIED: May 31, 1809, in Vienna Mozart once referred to this piece as During the last 30 years and more, the WORK COMPOSED: 1768 “my Strassburg Concerto,” alluding to Estonian composer Arvo Pärt has won a WORLD PREMIERE: Uncertain, but probably 1768, its use of a melody called “The devoted following among listeners entranced under the composer’s direction, at the palace of Strassburger.” This occurs late in its final by his music written in a style that has been his employer, Nikolaus, Prince Esterházy, near the movement, following a bitter-sweet arietta called “mystical minimalism.” The elements of present-day border of Austria and Hungary. sung by the solo violin over a plucked that style are spare sonorities and luminous accompaniment from the orchestral strings. textures in conjunction with simple and often Haydn’s Sturm und Drang style, which repetitive melodic figures, static harmonies this symphony typifies, is especially and steady rhythmic pulses. The resulting Mozart wrote his Violin Concerto in G evident in the second movement. Here sound inevitably has led to comparisons with major, K. 216, in September 1775, a year in wide melodic leaps and off-beat accents the minimalism of such American composers which the 19-year-old composer created at account for much of the music’s turbulent as Steve Reich and Philip Glass. But there least three other works of this kind. As do character. are significant differences. While American so many compositions from Mozart’s late minimalism typically presents a quick micro- adolescence, this one conveys a feeling pulse and busy rhythmic surface, Pärt’s Haydn’s symphonies, which number more of almost carefree assurance. Ideas seem compositions generally cultivate a slow, than a hundred, range widely in expression. to flow from the young composer’s pen meditative quality and often evoke the sound Many convey the bright spirit that seems to so abundantly that he scarcely has time to of medieval chant. have been an intrinsic part of their author’s develop each one properly.

18 SEATTLESYMPHONY.ORG Moreover, many of the works Pärt has written Schubert’s truncated symphony is a something more substantial and powerful during the past four decades are settings composition of surprising drama. The than the waltz melody it initially appears of sacred texts. The composer is a deeply brief statement from the low strings to be. These two themes would provide religious man who regularly attends services that prefaces the first movement returns excellent material for Schubert to expand, at the great Russian Orthodox Church in midway through this portion of the but he instead bases the movement’s , where he has lived with his family symphony to fulfill its dark promise. The central development section entirely on since 1981. Since then, religious works have second movement begins placidly before the motif of the introduction, working this assumed an ever greater part in his oeuvre unleashing a musical tempest. into a harrowing expression of tragedy. and have come to form the most substantial The composer then recalls the two longer body of sacred music by any major composer themes, much in their original forms, and Franz Schubert composed the two of our time. the movement closes with a coda bringing movements of his Eighth Symphony in the final consideration of the opening motif. Fratres, which opens our concert, is not autumn of 1822, when he was 25 years old. one of Pärt’s ecclesiastical works, but it Despite his youth, the composer still had The ensuing movement also surprises us does evoke an atmosphere of meditative six years in which he might have completed with strong developments of its themes. This spirituality. The composer initially wrote this work, and his failure to do so has is particularly true of the second subject, this piece in 1977, arranging it at that time never been satisfactorily explained. Some a long melody introduced by solo clarinet for several different ensembles. Over the commentators have attributed it to and extended by the oboe and flute. It ensuing years he has continued to create Schubert’s mounting discouragement seems utterly placid, but immediately the or sanction different renditions of the work, in the face of public indifference to his full orchestra takes it up with Beethovenian which now total no less than 18 distinct orchestral music, some to an alleged lack fury. By the time the movement reaches its scorings. The one we hear, for solo violin, of confidence. Other Schubert authorities, peaceful conclusion it is clear that these string orchestra and percussion, was created however, have disputed these and further initially still waters have run very deep indeed. by Pärt in 1992. claims, and it seems unlikely that the truth of Where the flow of Schubert’s inspiration might the matter will ever be known with certainty. have led from here we can only guess. The music’s underlying character is contemplative, ethereal and vaguely In any event, we must accept the two Scored for pairs of woodwinds, horns and ; medieval. Typically of Pärt’s work, its texture movements of what has come to be called 3 ; timpani; strings. and unfolding are simple and clear. Over a Schubert’s “Unfinished” Symphony as © 2018 Paul Schiavo low drone, sustained by basses and , they stand — “a mighty torso,” to borrow the string choir sounds what seems like the words of the musicologist Alfred choral chanting. Percussion instruments Einstein. Just how mighty can scarcely THOMAS ZEHETMAIR (claves and ) punctuate this be appreciated unless we consider the Conductor & violin chant, marking each conclusion and music in its historical context. In 1839, recommencement of the melody. With each wrote of Schubert’s late Thomas Zehetmair enjoys repetition, the music grows in volume and C-major Symphony (No. 9): “It is the greatest widespread international sonority. Eventually Pärt reverses course, achievement in instrumental music since acclaim not only as a effecting a long diminuendo back to the Beethoven.” Had he known the B-minor violinist, but also a hushed level of the opening. The piece thus Symphony, which lay undiscovered until conductor and chamber describes a broad sonic arch, one that rises 1865, he might have included it in his musician. His international encomium, for it is on the same high level. from quietude to fullness and back. career as a conductor is Not until Brahms, writing nearly half a century In the version we hear, the composer has defined primarily by his after Schubert, would a composer come to Mignot Julien Photo: position as Artistic Partner embroidered this music with a part for solo terms so successfully with the implications violin somewhat in the manner of a concerto. of Beethoven’s symphonic works. The of the Saint Paul Chamber Orchestra, as well as A virtuoso solo bowed quickly across all four deep pathos we encounter in the B-minor Principal Conductor of the Musikkollegium of the instrument’s strings prefaces the piece. Symphony, its broad harmonic terrain, Winterthur. Taking the helm of the Royal Later, the soloist adds counter-melodies to and the ambitious scale of the musical Northern Sinfonia as Principal Conductor in the chant, sometimes playing very delicately, developments all mark the “Unfinished” 2002, he sculpted it into one of England’s sometimes lyrically, sometimes vehemently. Symphony as a worthy successor to leading orchestras during his term ending in Scored for solo violin; strings; percussion. Beethoven’s mature symphonies. 2014. Zehetmair has recorded the largest amount of repertoire for the violin; many of his In the first movement, Schubert condenses releases have earned multiple awards. He is the typical slow introduction to a brief also the founding member of the Zehetmair FRANZ SCHUBERT statement for the cellos and basses. Oboe Quartet, with which he was awarded the Paul Symphony No. 8 in B minor, “Unfinished” and clarinet then give out what is nominally the movement’s principal theme over a Hindemith Prize by the City of Hanau in BORN: January 31, 1797, in Vienna restless accompaniment in the strings. November 2014. Zehetmair was awarded the DIED: November 19, 1828, in Vienna A second subject is introduced by the certificate of honor by the Preis der Deutschen WORK COMPOSED: 1822 cellos. Although it promises a respite from Schallplattenkritik as well as the Karl Böhm WORLD PREMIERE: December 17, 1865, in Vienna, the somber tone that has prevailed to this Interpretation Prize by the federated state of Styria. Zehetmair is an Honorary Doctor at the under the direction of Johann von Herbeck point, Schubert soon undercuts its lyrical character with a series of harsh chords University of Music Franz Liszt in Weimar and and a passage that makes of the theme Newcastle University.

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FRIDAY, MARCH 9, 2018, AT 12 NOON OVERVIEW

HAYDN & SCHUBERT High Drama Music is often described as being “dramatic,” usually as a compliment. Some music is dramatic in an abstract, or purely musical, Pablo Rus Broseta, conductor way. It suggests crisis or strife, often with Benjamin Lulich, clarinet a sense of final resolution, unattached to Seattle Symphony any specific narrative scenario. But some compositions pin such expression to an FELIX MENDELSSOHN The Fair Melusina Overture, Op. 32 10’ actual story or situation. Our concert presents both kinds of musical Clarinet Concerto, Op. 57 24’ drama. In Felix Mendelssohn’s concert BENJAMIN LULICH, CLARINET overture The Fair Melusina, contrasting turbulent gentle moods represent elements INTERMISSION in a tragic German folk legend. Carl Nielsen’s Clarinet Concerto conveys a scenario in FRANZ JOSEPH HAYDN Symphony No. 49 in F minor, “La passione” 24’ which an obstreperous soloist comes into (“The Passion”) conflict with his orchestral colleagues before Adagio achieving a measure of amity at the end. Allegro di molto The second half of our program comprises Menuet two symphonies, each intensely dramatic Finale: Presto in abstract terms. Franz Joseph Haydn’s “Passion” Symphony epitomizes a highly FRANZ SCHUBERT Symphony No. 8 in B minor, “Unfinished” 22’ emotional style that came to be called Allegro moderato Sturm und Drang (“Storm and Stress”), Andante con moto though the passion it expresses is not that of any particular character or drama. Much Program notes for Haydn’s Symphony No. 49 in F minor, “La passione” the same can be said of Franz Schubert’s (“The Passion”) and Schubert’s Symphony No. 8 in B minor, “Unfinished” “Unfinished” Symphony, whose music may be found on pages 18–19. intimates both sorrow and serenity in soul- stirring measure.

FELIX MENDELSSOHN The Fair Melusina Overture, Op. 32

BORN: Hamburg, February 3, 1809 DIED: , November 4, 1847 WORK COMPOSED: 1833, revised 1834 and 1835 WORLD PREMIERE: April 7, 1834, in London. Mendelssohn’s close friend, Ignaz Moschelles, conducted the orchestra of the London Philharmonic Society.

“The whole begins and ends with an enchanting water-like motif, ebbing and flowing with such effect that we seem to be carried ... to the sublime, earth-embracing ocean. ... How tenderly and endearingly the melody in A-flat, in which we seem to see Melusine, lingers in our memory!”

– Robert Schumann (a respected critic as well as a composer), 1835

Please note that the timings provided for this concert are approximate. Please turn off all electronic devices and refrain from taking photos or video. The German folk legend of Melusine tells Performance ©2018 Seattle Symphony. Copying of any performance by camera, audio or video recording of a beautiful woman who, through a magic equipment, and any other use of such copying devices during a performance is prohibited. spell, is transformed into a water nymph every seventh day. She has made her husband promise not to attempt to discover

20 SEATTLESYMPHONY.ORG PABLO RUS BROSETA PROGRAM NOTES Conductor Pablo Rus Broseta is Associate Conductor of the where she goes each week, nor the It is always a great honor to perform as Seattle Symphony, having reason for her disappearances. But one soloist with my own symphony. It can originally been appointed day Melusine’s spouse breaks his vow and feel a bit strange at first standing in front of the Assistant Conductor in follows her — a tragic error. With her secret orchestra, instead of my normal seat in the 2015. During the 2017– known, Melusine must leave her husband middle of it, but it is an exhilarating experience 2018 season, he leads the and their children and live forever beneath to perform with such a wonderful group no Seattle Symphony in a Photo: Chuck Moses, Yuen Lui Studio Lui Yuen Chuck Moses, Photo: the water’s surface as a sprite. matter where I am on stage. This is my first wide variety of concerts, time performing Carl Nielsen’s Clarinet including an all-Russian program with pianist This story touches on two themes central Concerto; I remember studying the piece in to 19th-century Romanticism — the Beatrice Rana, Carmina burana and a festival college, but I never performed it. It is well supernatural and doomed love — and it of Prokofiev concertos. In 2016–2017, he known as a particularly challenging work, attracted numerous poets, dramatists and conducted a festival of Shostakovich technically demanding on everyone, but composers active during the 1820s and concertos as well as a concert with Yo-Yo Ma. especially the solo clarinet and the snare ’30s, when the Romantic tide reached its He is rapidly building a wide-ranging repertoire drum, which has a significant role. Nielsen was first high-water mark. Among these was from Handel to John Adams, with a focus on writing for a specific clarinetist, Aage Oxenvad, Felix Mendelssohn, who in February 1833 the great symphonic repertoire. As guest a fellow Dane who was known for his bipolar noted in a letter to his sister his intention to conductor, Rus Broseta’s 2017–2018 season outbursts, so there are many sudden changes compose a concert overture based on the of mood and character throughout the piece. I includes debuts with the Houston and Melusine legend. He completed an initial think one of the challenges of this piece is to Kitchener-Waterloo symphonies, and return version of Die schöne Melusine, or The provide cohesive and natural phrasing through engagements with the SWR Symphonie­ Fair Melusina, as it is usually translated to all the difficult technical passages, and to show orchester and Orquesta de Valencia. Rus English, in November that year. the various moods and characters in a manner Broseta studied composition and saxophone From the start, the composer was that makes sense musically. at the Conservatory of his native Valencia, with enthusiastic about the overture. In October further studies in conducting in Lyon, at the 1833, he wrote: “I think ... that the Melusine – Benjamin Lulich Conservatorium van Amsterdam, and overture will be the best thing I have Universität der Künste Berlin. yet done.” The overture begins with a In 1921, the Danish composer Carl Nielsen pastoral section featuring a theme whose became acquainted with the members of contours suggest Melusina’s watery habitat. the Woodwind Quintet, and BENJAMIN LULICH Shortly, however, the music turns to darker for them wrote his Quintet for Winds, Op. Clarinet harmonic terrain and assumes a more 43. Nielsen was intrigued with the different Principal Clarinet of the agitated air. Here Mendelssohn presents personalities that made up this ensemble, Seattle Symphony and two well-contrasted themes. The first is and he decided he would try to portray them Seattle Opera, Benjamin urgent and impassioned. The second, a in a series of five concertos, one for each Lulich has been praised more lyrical idea assigned to the violins, member of the quintet. Sadly, he did not live surely represents the heroine of the tale. to complete this project, but his concertos for for “standout” The flowing theme of the initial measures flute and clarinet, written in 1926 and 1928 performances (Seattle reappears as a brief interlude and again at respectively, have enriched the literature of Times) that are “expert the close. each of these instruments. and lush” (Los Angeles Photo: Larey McDaniel Larey Photo: Times), and solos that are Nielsen composed his Clarinet Concerto Scored for pairs of woodwinds, horns and trumpets; “superb” and “especially eloquent” (Orange timpani; strings. for Aage Oxenvad, a fine clarinetist but reportedly a temperamental fellow. County Register). He has held prominent He could be difficult, often angry, and positions in The Cleveland Orchestra, Pacific CARL NIELSEN possessed a cutting wit. But evidently he Symphony and Kansas City Symphony, and Clarinet Concerto, Op. 57 was capable of more gentle humor and has performed as guest principal with the a certain affability also. These are the Philadelphia Orchestra and frequently with BORN: June 9, 1865, in Sortelung, qualities of the Clarinet Concerto. the Los Angeles Philharmonic. Lulich has DIED: October 3, 1931, in Copenhagen performed on Oscar and Grammy Award- Nielsen compresses the three movements WORK COMPOSED: 1928 winning albums and film scores. He has (fast–slow–fast) of traditional concerto form performed solo, chamber and orchestral WORLD PREMIERE: October 2, 1928, in into a single large movement. The work begins music across the globe. Lulich attended Copenhagen. Aage Oxenvad was the clarinet with an energetic little theme announced soloist, and the composer conducted. by the cellos and basses, but the cheery Interlochen Arts Academy, Cleveland Institute character it promises is short-lived. With the of Music and Yale School of Music, where he entrance of the soloist the mood becomes studied with Richard Hawkins, Franklin Cohen This concerto is, among other things, tense and then violent. There are moments and David Shifrin. A native of the Pacific a musical drama that pits the solo of respite, particularly in the central Adagio Northwest, Lulich previously performed with clarinet against the orchestra. Often section, but a final reconciliation is achieved the Seattle Youth Symphony and the two appear to be quarreling. In only in the concerto’s closing measures. Marrowstone Music Festival and studied with particular, the featured instrument Seattle Symphony clarinetist Laura DeLuca. repeatedly seems to provoke the snare Scored for solo clarinet; 2 ; 2 horns; He is a performing artist for Backun Musical drum into contentious dialogue. percussion; strings. Services, and he plays Backun MoBa © 2018 Paul Schiavo made from cocobolo wood.

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THURSDAY, MARCH 15, 2018, AT 7:30PM SATURDAY, MARCH 17, 2018, AT 8PM SUNDAY, MARCH 18, 2018, AT 2PM CONCERT SPONSOR CARMINA BURANA

Wells Fargo Private Bank is Pablo Rus Broseta, conductor | Raquel Lojendio, soprano | Ross Hauck, tenor delighted and honored to Jarrett Ott, baritone | Northwest Boychoir | Seattle Symphony Chorale sponsor the Seattle Symphony’s Seattle Symphony performance of Carl Orff’s Carmina burana. MANUEL DE FALLA El sombrero de tres picos 38’ /text Gregorio Martínez Sierra (“The Three-Cornered Hat”) Like the Seattle Symphony, Wells after Pedro Antonio Introducción (“Introduction”)— Fargo has long been a part of de Alarcón Part I: Washington State’s history, serving La tarde (“Afternoon”)— the financial needs of families and Danza de la molinera: Fandango business since 1852. With nearly (“Dance of the Miller’s Wife”)— 5,000 team members, we are one of Las uvas (“The Grapes”) the region’s largest employers and Part II: are grateful for the contribution that Danza de los vecinos: Seguidillas the Seattle Symphony makes to the (“The Neighbors’ Dance”) Puget Sound’s vibrancy, economy Danza del molinero: Farruca and quality of life. (“The Miller’s Dance”)— Danza del corregidor Our commitment to the Symphony, (“Dance of the Magistrate”) and to so many other excellent Danza final: Jota (“Final Dance”) organizations around the region, RAQUEL LOJENDIO, SOPRANO is reflected in our corporate and INTERMISSION team member giving, community CARL ORFF Carmina burana 60’ development investments, and Fortuna imperatrix mundi (“Fortune, the tens of thousands of volunteer Empress of the World”) hours contributed by Wells Fargo Primo vere (“In Springtime”) team members. This corporate Uf dem anger (“On the Green”) commitment represents a legacy of In taberna (“In the Tavern”) leadership for which we are quite Cour d’amours (“The Court of Love”)— proud, both as employees and as Blanziflor et Helena (“Blanziflor and Helena”)— members of this community. Fortuna imperatrix mundi (“Fortune, Empress of the World”) On behalf of Wells Fargo Private RAQUEL LOJENDIO, SOPRANO Bank, our team members and ROSS HAUCK, TENOR their families, thank you for JARRETT OTT, BARITONE supporting the Seattle Symphony. NORTHWEST BOYCHOIR We hope that you thoroughly SEATTLE SYMPHONY CHORALE enjoy the performance. See Pablo Rus Broseta’s biography on page 21. Marco Abbruzzese Pre-concert Talk one hour prior to performance. Regional Managing Director, Speaker: Andrew Kohler Washington and Alaska Ask the Artist on Thursday, March 15 in the Samuel & Althea Stroum Grand Lobby following the concert. Guests: Raquel Lojendio, Ross Hauck & Jarrett Ott Moderator: Pablo Rus Broseta Sponsored by Wells Fargo Private Bank. Media Sponsor: Classical KING FM 98.1

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 ©2018 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.

22 SEATTLESYMPHONY.ORG OVERVIEW PROGRAM NOTES

In the Realm of the Senses MANUEL DE FALLA thoroughly humiliated by the miller and his clever spouse. Music appeals to us through both El sombrero de tres picos the senses and intellect. The latter is (“The Three-Cornered Hat”) The ballet score begins with an especially true of certain kinds of highly Introduction, a song for soprano. “Young BORN: November 23, 1876, in Cádiz, Spain developed concert music. Bach’s fugues, wife, shut and bar the door,” she sings DIED: November 14, 1946, in Alta Gracia de for example, with their intricate webs of between shouts of “olé” and the clicking counterpoint, or Beethoven’s sonatas and Córdoba, Argentina of castanets. “For though the devil is quartets, with their ingenious manipulation WORK COMPOSED: 1916–19 asleep, he may awake.” and variation of melodic motifs, are WORLD PREMIERE: July 22, 1919, in London. This prefatory music flows into that of the Ernest Ansermet conducted the orchestra of impressive intellectual achievements first scene, Afternoon, in which the miller as well as auditory delights. Yet music’s the Ballets Russes. and his wife work in their garden. His vain sensual aspects can hardly be ignored, attempts to train a blackbird bring chirps even in such decorous surroundings as De Falla’s marvelous ballet score from flute and piccolo, as well as angry Benaroya Hall. The effect rhythm has imparts a strongly Spanish flavor outbursts from the frustrated miller. She on our pulse and muscles, the strange through its allusions to traditional succeeds in coaxing the bird and a warmly sway melody and harmony exert on our Spanish music and dances. The song that romantic phrase suggests the affection emotions, the visceral thrill we feel when precedes the action imitates cante jondo, the couple share. As he returns to work, sonic tempo and volume increase — these the traditional singing of Spain’s gypsies. A the miller whistles a tune that serves as his are what first draw us to music, and they series of dances — the first act’s fandango, musical signature. remain powerful attractions for even the and the ensuing seguidilla, farruca and Now a procession approaches. It is the most sophisticated listeners. jota — show de Falla’s command of both a folkloric Spanish idiom and a dazzling provincial magistrate, whose pompous While by no means devoid of intellectual palette of orchestral color. character is reflected in the lumbering substance, the two compositions that form accompaniment figures heard at the the program for our concert lean strongly outset of his processional music. Noticing Manuel de Falla was the most important toward the sensual. And each in its own how he gazes lustfully at the miller’s Spanish composer of the last century. His way celebrates sensuality. Manuel de wife, the couple decide to toy with him. standing as such is due not only to the The miller strolls off and his wife begins Falla’s ballet The Three-Cornered Hat is a outstanding quality of his music but also paean to young married love as well as a to perform a fandango, a dance of to its essentially Spanish tone and spirit. highly passionate character. Soon the satirical jab at old men’s lechery. De Falla’s De Falla thoroughly absorbed the melodic governor approaches (indicated by a solo evocation of cante jondo, the erotically and rhythmic inflections of Spanish folk bassoon). The miller’s wife greets him charged flamenco vocal style, and of music and used these as elements of his (gracious music for the strings) and offers several traditional Spanish dances give his own compositional style. Moreover, his some grapes, which become the prop in ballet score an irresistible physical appeal. theatrical works are drawn from Spanish a flirtatious dance. He tries to grab her, Carl Orff’s sprawling cantata Carmina subjects and deliberately evoke a but she always manages to evade his burana sings of nature, inebriation and love. Spanish atmosphere. lunges. Their dalliance grows increasingly Its propulsive rhythms, roaring sonority and animated until the miller appears, The most substantial of those works is the sheer aural energy have made this the most brandishing a stick and frightening the ballet The Three-Cornered Hat. De Falla popular choral work of the last century. magistrate away. Together the couple initially completed this piece in 1917 as a triumphantly conclude the fandango. I have great memories spending a modest pantomime with music scored for couple of weeks every year in a small instrumental ensemble. Two years In the second act, neighbors of the later he expanded his score to a full-length Granada, one of my favorites cities in my miller and his wife gather at the mill. ballet for large orchestra. In this form country. De Falla lived there around 20 In the warm Andalusian night there is the work was first presented in 1919, the years. I was studying at a seminar about de drinking and dancing — a seguidilla, production featuring sets by Pablo Picasso. Falla’s music and his relation with the which all join in. De Falla’s music captures the fluid rhythms of this dance and impressionism and the flamenco, somehow The ballet’s plot is based on a traditional provides a wonderful mosaic of changing his music is in between these two Spanish story, El corregidor y la molinera instrumental colors. The miller responds influences. We could visit his house, he (“The Magistrate and the Miller’s Wife”), with a dance of his own, a more vigorous lived very close to the Alhambra, an a semi-serious farce that resembles, farruca. It is prefaced by rhapsodic solos astonishing place not to be missed if you in spirit and in many details, the plot of for horn and English horn, and its gradual visit Spain! De Falla’s not so well known as Mozart’s opera The Marriage of Figaro. In acceleration creates an impression of it, a lecherous and despotic magistrate, Stravinsky or Ravel, or other great mounting energy. De Falla, through whose emblem of authority is a three- composers of the 20th century, but I his scoring, manages to imitate the cornered hat, conceives a fancy for the always believed in his music. It’s very strumming of guitars that traditionally pretty wife of a poor miller. When she special for me to share this music with the accompanies this dance. Seattle Symphony. spurns his advances, he has her husband arrested in order to clear the field for his Suddenly there is a knock at the door. conquest. Still he is unable to win her. In (De Falla indicates this with a humorous – Pablo Rus Broseta the end the magistrate is defeated and quotation of the famous motif from

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Beethoven’s Fifth Symphony.) It is the sound blocks convey a pagan and often Orff’s creative work. He sought new ways to police, sent by the magistrate with a quite orgiastic energy. But there are dramatize concert music, presenting staged warrant for the miller’s arrest. The miller moments of quiet lyricism also, particularly versions of oratorios and other pieces. His is led away and the guests depart. Here in songs of love, and even intimations of own compositions relied increasingly on de Falla interpolates another song, innocence in the voices of a children’s modal melodies derived from medieval warning that the devil is afoot and invoking choir. chant, and on the percussion instruments the sound of a cuckoo, the symbol of and simplicity of utterance that characterize deceived husbands. Orff-Schulwerk. Orff plainly was searching for In 1803 a remarkable manuscript was a vehicle by which to bring these disparate discovered in a medieval Benedictine At midnight the magistrate arrives elements together in a telling and original monastery at Beuren, in what is now (bassoon again), confident that he will way. He found it in the Carmina burana. enjoy the miller’s wife now that her spouse southern Germany: a collection of secular is incarcerated. He primps and preens (to songs and poems written by wandering Orff composed his setting of Beuren a mock-classical passage) but loses his students and minstrels during the 12th and monastery verses in 1935–36. Upon way in the dark and plunges into the mill 13th centuries. The verses, in Latin, Old completing it, he wrote to his publisher: pond (a loud orchestral outburst). Quickly French and Middle-High-German, touched “Everything I have written to date ... can recovering, the magistrate endeavors to a broad range of topics. They satirized the be destroyed. With Carmina burana, seduce the miller’s wife. She manages to clergy and nobility, celebrated the passing my collected works begin.” One can flee, and the magistrate hides just as the seasons, complained of poverty and understand how Orff might have been miller, having escaped from the village corruption, praised the pleasures of wine tempted to make this extreme declaration, jail, returns to the house (de Falla signals and song, and above all sang the joys and for the sound of Carmina burana was his arrival by a variant of the tune he sorrows of love — all while expressing a virtually unprecedented. In an audacious had whistled near the start of the ballet). fatalistic view of human destiny controlled gambit, Orff deliberately abandoned Devising a new plan to foil the magistrate, by a “wheel of fortune.” By turns blatant Western music’s traditional techniques of the miller strolls off whistling his cheery and refined, these verses revealed a counterpoint and thematic development tune, leaving the magistrate (signaled freshness that is striking even today. They in favor of a deliberately primitive rhetoric. again by the bassoon) alone and dejected. were published in 1847 under the title This aimed unapologetically for physical Carmina burana (“Beuren Songs”). In 1935 and emotional sensation rather than Returning with all his neighbors, the miller they came to the attention of an obscure aesthetic response, and its raw emotive exposes the magistrate’s lechery for German composer named Carl Orff. power cannot be ignored. all to see. The townsfolk dance around the magistrate, mocking him and finally Orff is one of the more curious figures Framing Carmina burana is a massive tossing him on a blanket. De Falla’s closing of 20th-century music. He received a chorus, “O Fortuna,” whose allusion to both dance, a jota, sounds a kaleidoscope of solid if unremarkable musical training happiness and woe, “power and poverty shifting melodic figures, several alluding and, like so many composers of his alike,” sets out a broad canvass of human to themes heard earlier in the ballet. The generation, absorbed the influence first experience to be filled by the intervening is exceptionally colorful, its of the German late-Romantics, particularly numbers. These are divided into three large extensive use of percussion contributing , and later of Stravinsky. sections. The first, Springtime, is a hymn to much to the music’s festive Spanish But his interests soon spread beyond the reawakening nature and love. In the Tavern character. concerns of modern composition. As a treats the pains and pleasures of hedonistic young man, he became involved with the abandon. The Court of Love, the work’s final Scored for solo soprano; 3 flutes (the 1st and 3rd theater and soon became fascinated with section, celebrates love and sensuality. A flute doubling piccolo); 2 oboes and English horn; the possibility of combining the various 2 clarinets; 2 bassoons; 4 horns; 3 trumpets; 3 reprise of the opening chorus brings the trombones; tuba; timpani and percussion; harp; arts to produce a spectacle whose total work full circle to conclude as it began. piano and celeste; strings. effect was greater than the sum of its parts. Scored for solo soprano, tenor and baritone; large At about the same time, Orff developed a chorus, small chorus and children’s chorus; 3 flutes CARL ORFF strong interest in early music, particularly (the 2nd and 3rd doubling piccolo); 3 oboes (the 3rd doubling English horn); 3 clarinets (the 2nd clarinet Carmina burana that of the medieval and Renaissance doubling bass clarinet, the 3rd clarinet doubling E-flat periods. Finally, in 1924, he began an clarinet); 2 bassoons and contrabassoon; 4 horns; 3 BORN: July 10, 1895, in association with the dancer Dorothee trumpets; 3 trombones; tuba; timpani and percussion; 2 and celeste; strings. DIED: March 29, 1982, in Munich Gunther and with her established an WORK COMPOSED: 1935–36 educational method aimed at “reviving © 2018 Paul Schiavo WORLD PREMIERE: June 8, 1937, in Frankfurt the natural unity of music and movement.” am Main, by the Frankfurt Opera under the Orff’s work in this area, and in early music education generally, continued direction of conductor Bertil Wetzelsberger. for decades, resulting in the famous Orff-Schulwerk, a teaching program Carl Orff stated that he intended employing simple percussion instruments Carmina burana to convey intense and rhythmic movement now widely used physical feeling. In this he throughout the world. succeeded. The work’s pounding and repetitive rhythms, simple motifs, Far from remaining isolated, these interests elemental harmonies and huge orchestral came together in a fascinating synthesis in

24 SEATTLESYMPHONY.ORG Performance is the result of preparation

WELLS FARGO PRIVATE BANK The success of The Seattle Symphony Orchestra is the result of careful Wealth Planning practice and planning. Your financial plan should perform for you, too. Investments When you work with us, your goals, needs, and vision for the future are at the center of that plan. Private Banking Trust Services To start a new kind of conversation, contact your local Wells Fargo Private Bank office: Insurance Marco Abbruzzese Regional Managing Director 206-340-4651 [email protected] wellsfargoprivatebank.com

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EAP full-page template.indd 1 1/29/18 3:14 PM TEXT & TRANSLATION

MANUEL DE FALLA El sombrero de tres picos (“The Three-Cornered Hat”) Part I: Primo vere (“In Springtime”)

Ole! Casadita, Cierra con trance la Young bride, lock the door with a 2. Fortunae plango vulnera Puerta; que aunque el diablo esté crossbar. For, even if the devil is dormido a lo major se despierta! sleeping, like as not he’ll wake up! Fortunae plango vulnera I mourn the blows of Fortune stillantibus ocellis, with flowing eyes, quod sua mihi munera because her gifts she has Por la noche cantael cuco. At night the cuckoo calls, warning subtrahit rebellis. treacherously taken back from me. Advirtiendo a los casados que married people to shut their bolts Verum est, quod legitur Opportunity is rightly described corran bien los cerrojos que el tightly, because the devil isn’t fronte capillata, as having hair on her forehead, diabloesta desvelado! Por la noche sleeping! At night the cuckoo calls: sed plerumque sequitur but there usually follows cantael cuco: Cucú! Cucú! Cucú! “Cuckoo! Cuckoo! Cuckoo!” Occasio calvata. the bald patch at the back.

In Fortunae solio On the throne of Fortune sederam elatus, I sat elated, prosperitatis vario crowned with CARL ORFF Carmina burana flore coronatus; the gay flower of prosperity; quicquid enim florui however much I flourished, Fortuna imperatrix mundi (“Fortune, Empress of the World”) felix et beatus happy and blessed, nunc a summo corrui now I have fallen from the pinnacle, 1. O Fortuna gloria privatus. deprived of my glory.

O Fortuna, O Fortune, Fortunae rota volvitur; The wheel of Fortune turns; velut Luna like the moon descendo minoratus; I sink, debased; statu variabilis, of ever-changing state, alter in altum tollitur; another is raised up; semper crescis you are always nimis exaltatus lifted too high, aut decrescis; waxing or waning; rex sedet in vertice. a king sits on top. vita detestabilis hateful life Caveat ruinam! Let him beware of ruin! nunc obdurat now is brutal, Nam sub axe legimus Under the axis is written et tunc curat now pampers our feelings Hecubam reginam. Queen Hecuba. ludo mentis aciem; with its game; egestatem, poverty, potestatem, power, dissolvit ut glaciem. it melts them like ice. 3. Veris laeta facies

Sors immanis Fate, savage Veris laeta facies The happy face of Spring et inanis, and empty, mundo propinquatur. comes to the world. rota tu volubilis, you are a turning wheel; Hiemalis acies The army of Winter, conquered, status malus, your position is uncertain, victa iam fugatur. is now put to flight. vana salus your favor is idle In vestitu vario Flora principatur, In gay clothes Flora rules, semper dissolubilis; and always likely to disappear; nemorum dulcisono and she is praised obumbrata covered in shadow quae cantu celebratur. by the sweet sound of the woods. et velata and veiled, mihi quoque niteris; you bear upon me too; Florae fusus gremio Stretched out in the lap of Flora, nunc per ludum now my back Phoebus novo more Phoebus in his new way dorsum nudum is naked risum dat, hoc vario laughs; she is now covered fero tui sceleris. through the sport of your iam stipatae flore. with these gay flowers. wickedness. Zephyrus nectareo Zephyrus goes blowing spirans it odore. the scent of nectar. Sors salutis The chance of prosperity Certatim pro bravio In competition for the prize, et virtutis and of virtue curramus in amore. let us run the race of love. mihi nunc contraria; is not now mine; est affectus whether willing or not, Cytharizat cantico Sweet Philomela et defectus a man is dulcis Philomena. accompanies her song with the lyre. semper in angaria. always liable for Fortune’s service. Flore rident vario The fields, now bright, Hac in hora At this hour, prata iam serena. Smile with gay flowers. sine mora without delay, Salit coetus avium A flock of birds hops cordae pulsum tangite! touch the strings! silvae per amoena. through the pleasant places of the Quod per sortem Because through luck, world. sternit fortem, she lays low the brave; Chorus promit virginum A dancing band of girls mecum omnes plangite! all join with me in lamentation! iam gaudia millena. now brings a thousand joys.

26 SEATTLESYMPHONY.ORG 4. Omnia sol temperat qui conantur, rejoice and take ut utantur pleasure in Omnia Sol temperat The Sun calms all things praemio Cupidinis. honey sweetness. purus et subtilis; pure and gentle; Simus iussu Cypridis Let us be at the command of novo mundo reserat the face of April the Cyprian, facies Aprilis, opens to the new world; gloriantes et glorying and ad amorem properat the mind of a young man laetantes rejoicing animus herilis, hastens to love, pares esse Paridis. to be the equals of Paris. et iocundis imperat and over men of charm deus puerilis. rules the boy-god.

Rerum tanta novitas So great a renewal Uf dem Anger (“On the Green”) in sollemni Vere of the world in festive Spring, 6. Tanz (“Dance”) et Veris auctoritas and the authority of Spring iubet nos gaudere; orders us to rejoice; vias praebet solitas; it shows its familiar ways; et in tuo Vere and, in the Spring of your life, 7. Floret silva nobilis fides est et probitas sincerity and honesty require Floret silva nobilis The noble forest is in bloom tuum retinere. that you keep him who is yours. floribus et foliis. with flowers and leaves.

Ubi est antiquus meus amicus? Where is my old companion? Ama me fideliter! Love me faithfully! hinc equitavit. He has ridden away. fidem meam nota; Mark my loyalty; Eia, quis me amabit? Alas, who will love me? de corde totaliter completely in my heart

et ex mente tota and in my whole mind Floret silva undique. The forest is in bloom on all sides. sum praesentialiter I am with you Nach mime gesellen ist mir we. I grieve for my companion. absens in remota. though absent in a far place. Gruonet der walt allenthalben, The forest is green on all sides. Quisquis amat taliter, Whoever loves in this way Wa ist min geselle also lange? Why is my companion so long? volvitur in rota. is turned on the wheel of torture. Der ist geriten hinnen. He has ridden away. Owi, wer sol mich minnen? Alas, who will love me?

5. Ecce gratum

Ecce gratum Behold, the welcome 8. Chramer, gip die varwe mir et optatum and desirable Chramer, gip die varwe mir Merchant, give me the color Ver reducit gaudia. Spring brings back joys. die min wengel roete, to redden my cheeks purpuratum The brightly colored meadow damit ich die jungen man so that I may make young men floret pratum. is in flower. an ir dank der minnenliebe noete. love me whether they wish it or not. Sol serenat omnia. The sun brightens everything. Seht mich an, jungen man! Look at me, young men! Iamiam cedant tristia! Now let sorrows depart! Lat mich iu gevallen! Let me please you! Aestas redit, Summer returns,

nunc recedit now the rage Minnet, tugentliche man, Give your love, virtuous men, Hiemis saevitia. of Winter retires. minnechliche frouwen! to lovely women!

Minne tuot iu hoch gemuot Love gives you high spirits Iam liquescit Now hail, snow unde lat iuch in hohen eren and lets you shine in high et decrescit and the rest schouwen. honor. grando, nix et cetera. turn to water and flow away. Seht mich an, jungen man! Look at me, young men! Bruma fugit, Winter flees, Lat mich iu gevallen! Let me please you! et iam sugit and already

Ver Aestatis ubera. Spring sucks at the breasts of Wol die, werlt, das du bist O world, I wish you well, as you are Summer. also freudenriche! so rich in pleasures. Illi mens est misera, He bears an unhappy heart Ich wil dir sin undertan I will surely always be your servant qui nec vivit, who neither lives durch din liebe immer sicherliche. on account of your bounty. nec lascivit nor plays Seht mich an, jungen man! Look at me, young men! sub Aestatis dextera. under Summer’s right hand. Lat mich iu gevallen! Let me please you!

Gloriantur They who strive et laetantur to enjoy in melle dulcedinis the reward of Cupid

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9. Reie (“Round Dance”) Mihi cordis gravitas For me, a serious heart res videtur gravis; is too serious a matter; Swaz hie gat umbe, Those who dance around here iocus est amabilis a joke is pleasant daz sint allez megede, are all girls dulciorque favis; and sweeter than honeycombs; die wellent an man who wish to spend quicquid Venus imperat, whatever Venus orders alle disen sumer gan. all this summer without men. labor est suavis, is pleasant toil; quae numquam in cordibus she never dwells Chume, chum, geselle min, Come, come, my beloved, habitat ignavis. in faint hearts. ih enbite harte din, I am awaiting you with desire, ih enbite harte din, I am awaiting you with desire, Via lata gradior I go on the broad way chume, chum, geselle min. come, come, my beloved. more iuventutis, after the manner of youth; implicor et vitiis and I entangle myself in vice, Suozer rosenvarwer munt, Sweet mouth, the color of roses, immemor virtutis, forgetful of virtue; chum unde mache mich gesunt, come and make me well again. voluptatis avidus greedy for pleasure suozer rosenvarwer munt. sweet mouth, the color of roses. magis quam salutis, more than for salvation, mortuus in anima I, dead in my soul, curam gero cutis. attend to the needs of my flesh. 10. Were diu werlt alle min

Were diu werlt alle min If the world were all mine 12. Olim lacus colueram von dem mere unze an den Rin, from the sea up to the Rhine, des wolt ih mih darben this I would willingly forego Olim lacus colueram, Once I had dwelt on lakes, daz diu chunegin von Engellant to have the queen of England olim pulcher exstiteram, once I had been beautiful, lege an minen armen. lie in my arms. dum cygnus ego fueram. when I was a swan. Miser, miser! Poor wretch! Modo niger Now black et ustus fortiter! and well roasted! Part II: In taberna (“In the Tavern”)

11. Aestuans interius Girat, regirat garcifer; The cook turns me back and forth; Aestuans interius Burning inwardly me rogus urit fortiter; I am roasted to a turn on my pyre; ira vehementi with strong anger, propinat me nunc dapifer. now the waiter serves me. in amaritudine in my bitterness Miser, miser! Poor wretch! loquor meae menti; I speak to my soul; Modo niger Now black factus de materia, created out of matter, et ustus fortiter! and well roasted! cinis elementi, ashes of the earth, similis sum folio, I am like a leaf Nunc in scutella iaceo, Now I lie on the dish, de quo ludunt venti. with which the winds play. et volitare nequeo; and I cannot fly; dentes frendentes video. I see the gnashing teeth. Cum sit enim proprium Whereas it is proper Miser, miser! Poor wretch! viro sapienti for a wise man Modo niger Now black supra petram ponere to place his foundations et ustus fortiter! and well roasted! sedem fundamenti, on rock, stultus ego comparor I, in my folly, fluvio labenti am like a flowing river, sub eodem tramite never staying numquam permanenti. on the same course.

Feror ego veluti I am borne along like a ship sine nauta navis, without a sailor, ut per vias aeris just as a wandering bird vaga fertur avis; is carried along paths of air; non me tenent vincula, chains do not keep me non me tenet clavis; nor does a key; quaero mihi similes, I seek men like myself, et adiungor pravis. and I am joined with rogues.

28 SEATTLESYMPHONY.ORG 13. Ego sum abbas Bibit hera, bibit herus, The mistress drinks, so does the master, bibit miles, bibit clerus, the soldier drinks, so does the cleric, Ego sum abbas Cucaniensis I am the Abbot of Cockaigne bibit ille, bibit illa, that man drinks, that woman drinks, et consilium meum est cum and my counsel is with bibit servus cum ancilla, the servant drinks with the maid, bibulis, soaks, bibit velox, bibit piger, the fast man drinks, so does the slow, et in secta Decii voluntas mea and my pleasure is in the order of bibit albus, bibit niger, the white man drinks, so does the black, est, gamblers, bibit constans, bibit vagus, the stay-at-home drinks, so does the et qui mane me quaesierit and whoever seeks me early in wanderer, in taberna the tavern bibit rudis, bibit magus. the fool drinks, so does the scholar. post vesperam nudus egredietur, will leave naked after vespers, et sic denudatus veste clamabit: and stripped of his clothing he will Bibit pauper et aegrotus, The poor drink, and the sick, cry: bibit exul et ignotus, the exiled and the unknown, Wafna, wafna! quid fecisti, Woe! Woe! What have you done, bibit puer, bibit canus, the boy, the greybeard, Sors turpissima? Luck most foul! bibit praesul et decanus, the bishop, the deacon, Nostrae vitae gaudia You have taken away bibit soror, bibit frater, sister, brother, abstulisti omnia! all the joys of our life! bibit anus, bibit mater, old woman, mother, bibit ista, bibit ille, that woman, this man, they drink bibunt centum, bibunt mille. by the hundred, by the thousand.

14. In taberna quando sumus Parum sescentae nummatae Large sums of money In taberna quando sumus, When we are in the tavern, durant cum immoderate last too short a time non curamus quid sit humus, we do not care about what earth is; bibunt omnes sine meta, when everybody drinks without limit, sed ad ludum properamus, we set about gambling, quamvis bibant mente laeta; even though they drink with a happy cui semper insudamus. and over that we always sweat. heart; Quid agatur in taberna We must investigate sic nos rodunt omnes gentes, in this everyone sponges on us, ubi nummus est pincerna, what happens in the tavern et sic erimus egentes. and it will make us poor. hoc est opus ut quaeratur; where money is the butler; Qui nos rodunt confundantur Damnation to those who sponge on us! si quid loquar, audiatur. pay attention to what I say. et cum iustis non scribantur. Put not their names in the book of justice. Quidam ludunt, Some gamble, quidam bibunt, some drink, quidam indiscrete vivunt. some live without discretion. Part III: Cour d’amours (“The Court of Love”) Sed in ludo qui morantur, From those who spend their time in gambling, 15. Amor volat undique ex his quidam denudantur, some are stripped bare, quidam ibi vestiuntur, some win clothes, Amor volat undique, Love flies everywhere, quidam saccis induuntur; some are dressed in sacks; captus est libidine. and is seized with passion. ibi nullus timet mortem, there no one fears death, Iuvenes, iuvenculae, Young men and women sed pro Baccho mittunt sortem. but for the wine they throw dice. coniunguntur merito. come together, as is right. Siqua sine socio, If a girl has no boyfriend, Primo pro nummata vini; First, for the payment of the wine; caret omni gaudio; she is quite without joy; ex hac bibunt libertini; then the boozers start to drink; tenet noctis infima she harbors the depths of night semel bibunt pro captivis, they drink once to those in prison, sub intimo shut up in her inmost heart. post haec bibunt ter pro vivis, after that, three times for the living, cordis in custodia; fit res It is pure bitterness. quater pro Christianis cunctis, four times for all Christendom, amarissima. quinquies pro fidelibus defunctis, five times for the faithful departed, sexies pro sororibus vanis, six times for sisters of loose virtue, septies pro militibus silvanis. seven times for soldiers of the forest.

Octies pro fratribus perversis, Eight times for brothers in error, nonies pro monachis dispersis, nine times for scattered monks, decies pro navigantibus, ten times for those who sail, undecies pro discordantibus, eleven times for men quarreling, duodecies pro paenitentibus, twelve times for those doing penance, tredecies pro iter agentibus. thirteen times for those on journeys. Tam pro papa quam pro rege For Pope and king alike, bibunt omnes sine lege. all drink without restraint.

encoremediagroup.com/programs 29 TEXT & TRANSLATION

16. Dies, nox Vellet Deus, May God grant, vellent dii, may the gods grant, Dies, nox, Day, night, quod mente proposui: what I have set myself to do: et omnia mihi sunt contraria; everything is hostile to me; ut eius virginea and that is to unlock virginum colloquia the talk of maidens reserassem vincula. the bonds of her virginity. me fay planszer, makes me weep, alas!, Manda liet, Send a message, oy suvenz suspirer, makes me sigh often, manda liet, send a message, plu me fay temer. makes me more afraid. min geselle my beloved chumet niet. does not come. O sodales, ludite, O friends, make merry, vos qui scitis dicite, speak to me, you who know, mihi maesto parcite; have mercy on me in my misery; 19. Si puer cum puellula grand ey dolur, my pain is great, Si puer cum puellula If a boy lingers attamen consulite but advise me moraretur in cellula, with a little girl in a cellar, per voster honur. for your honor’s sake. felix coniunctio. their meeting is fortunate. Tua pulchra facies, Your fair face Amore succrescente, As love increases, me fay planszer milies, makes me weep a thousand times, pariter e medio and, for both, pectus habens glacies. but your heart is ice. propulso procul taedio, boredom is dispatched far from A ramender ... To restore me … their midst, statim vivus immediately would I return to life fit ludus ineffabilis an indescribable game occurs fierem per un baser. with one kiss. membris, lacertis, labiis. with limbs, shoulders, lips.

17. Stetit puella 20. Veni, veni, venias

Stetit puella A girl stood Veni, veni, venias, Come, come, please come, rufa tunica; in a red dress; ne me mori facias, don’t make me die, si quis eam tetigit, if anyone touched it, hyrca, hyrce, nazara, hyrca, hyrce, nazara, tunica crepuit. the dress rustled. trilirivos. trilirivos. Eia! Eia! Pulchra tibi facies, Beautiful is your face, Stetit puella A girl stood oculorum acies, the glance of your eyes, tamquam rosula; like a little rose; capillorum series; the tresses of your hair; facie splenduit, her face shone, o quam clara species! oh, how beautiful is your os eius floruit. and her mouth bloomed, appearance! Eia! Eia! Rosa rubicundior, You are redder than the rose, lilio candidior, brighter than the lily, omnibus formosior; more beautiful than all; 18. Circa mea pectora semper in te glorior! you are my constant pride! Circa mea pectora In my heart multa sunt suspiria there are many sighs de tua pulchritudine, for your beauty, 21. In trutina mentis dubia quae me laedunt misere. which tortures me miserably. Manda liet, manda liet, Send a message, send a message, In trutina mentis dubia In my mind’s wavering balance, min geselle my beloved fluctuant contraria wanton love and chastity chumet niet. does not come. lascivus amor et pudicitia. sway in opposite scales. Sed eligo quod video, But I choose what I see, Tui lucent oculi Your eyes shine collum iugo praebeo; I offer my neck to the yoke; sicut solis radii, like the rays of the sun, ad iugum tam suave transeo. to a yoke so sweet I cross. sicut splendor fulguris like a flash of lightning lucem donat tenebris. which gives light to darkness. Manda liet, manda liet, Send a message, send a message, min geselle my beloved chumet niet. does not come.

30 SEATTLESYMPHONY.ORG 22. Tempus est iocundum 23. Dulcissime

Tempus est iocundum, It is the time of joy, Dulcissime, Sweetest of men, o virgines, o maidens; totam tibi subdo me! I give myself to you wholly! modo congaudete now enjoy yourselves together, vos iuvenes. o young men.

Oh, oh, totus floreo, Oh, oh, I am all aflower Blanziflor et Helena (“Blanchefleur and Helen”) iam amore virginali now with my first love; 24. Ave formosissima totus ardeo; I am all afire; novus, novus amor est, a new love it is, Ave formosissima, Hail, fairest of women, quo pereo. of which I am dying. gemma pretiosa, precious gem;

ave, decus virginum, hail, glory of maidens, Mea me comfortat I am elated virgo gloriosa, noble maiden; promissio, when I say yes, ave, mundi luminar, hail, light of the world; mea me deportat I am depressed ave, mundi rosa, hail, rose of the world; negatio. when I say no. Blanziflor et Helena, you are Blanchefleur and Helen,

Venus generosa. noble Venus. Oh, oh, totus floreo, Oh, oh, I am all aflower iam amore virginali now with my first love; totus ardeo; I am all afire; novus, novus amor est, a new love it is, Fortuna imperatrix mundi (“Fortune, Empress of the World”) quo pereo. of which I am dying. 1. O Fortuna Tempore brumali In the time of winter vir patiens, a man is sluggish, O Fortuna, O Fortune, animo vernali when spring is in his heart, velut Luna, etc. like the moon, etc. lasciviens. he is wanton.

Oh, oh, totus floreo, Oh, oh, I am all aflower iam amore virginali now with my first love; totus ardeo; I am all afire; novus, novus amor est, a new love it is, quo pereo. of which I am dying.

Mea mecum ludit My innocence virginitas, plays with me, mea me detrudit my shyness simplicitas. pushes me back.

Oh, oh, totus floreo, Oh, oh, I am all aflower iam amore virginali now with my first love; totus ardeo; I am all afire; novus, novus amor est, a new love it is, quo pereo. of which I am dying.

Veni, domicella, Come, my mistress, cum gaudio; with your joy; veni, veni, pulchra, come, come, fair girl, iam pereo. already I die.

Oh, oh, totus floreo, Oh, oh, I am all aflower iam amore virginali now with my first love; totus ardeo; I am all afire; novus, novus amor est, a new love it is, quo pereo. of which I am dying.

encoremediagroup.com/programs 31 RAQUEL LOJENDIO Soprano

The versatility of the Spanish soprano Raquel Lojendio has enabled her to build an extensive concert and operatic repertoire, which spans composers as diverse as Bach, Mozart, Photo: Michal Novak Michal Photo: Stravinsky, Verdi, de Falla, Shostakovich or Wagner. She has performed with all the major Spanish orchestras, and with the , Boston Symphony Orchestra, BBC Philharmonic, Orchestra Sinfonica Nazionale della RAI in Torino, Bergen Philharmonic Orchestra, Philharmonic, Hamburg Symphony Orchestra, Orchestra Filarmonica “Giuseppe Verdi” in Trieste and the Orchestre National du Capitole de Toulouse, among many others. She has recorded for major record labels such as Deutsche Grammophon, Naxos, Licanus, Chandos and RTVE Música. She studied at the Conservatorio Superior in her native city of Santa Cruz de Tenerife and Conservatori Liceu in Barcelona.

verdi ROSS HAUCK Tenor

Ross Hauck, “Locally sourced” tenor, lives in the greater Seattle area. AIDA Alumnus of Cincinnati- College Conservatory of Music. Faculty Member may 5–19 at Seattle University. Music Director at Covenant Presbyterian Church in Issaquah. Specializes in Early Music and Sacred Oratorio. Prefers Handel, hymns and Irish folk tunes. Recordings with Apollo’s Fire of Messiah VERDI’S MONUMENTAL MASTERPIECE New Production and a new CD of Appalachian/Celtic music: In this profoundly personal love story, In Italian with English subtitles. Sugarloaf Mountain. He has won some Evenings 7:30 PM awards, and a few newspapers/websites Verdi’s power to translate human Sunday 2:00 PM have said some good things (for that, visit emotions into magnificent music is on rosshauck.com), but his greatest prize is his Featuring the Seattle Opera full display. The high-stakes love triangle wife and four kids. unfolds on a grand scale amid glorious Chorus and members of Seattle Symphony Orchestra. spectacle and rousing choruses—including the famous Triumphal March. Francesca Zambello’s all-new production includes MCCAW HALL evocative choreography by Jessica Lang, 206.389.7676 and largescale visuals by visionary artist PRODUCTION SPONSORS: RETNA, who cites the structures of LENORE M. HANAUER Egyptian hieroglyphics as the basis for his C.E. STUART CHARITABLE TRUST striking designs. ADDITIONAL SUPPORT FROM: 4CULTURE

Artwork © RETNA (Marquis Duriel Lewis), SEATTLEOPERA.ORG/AIDA Photo © Philip Newton

32 SEATTLESYMPHONY.ORG JARRETT OTT Baritone Premier Residential American baritone Jarrett Ott was recently named Retirement Since 1987 one of 25 “Rising Stars” by Opera News, which described his voice in Cold Mountain as having an “often ravishing, airy vocal finish.” In his continued Photo: Dario Acosta Dario Photo: career ascension, Ott will make many important role debuts this coming season, including Papageno in Die Zauberflöte with Opera Philadelphia, Figaro in Il Barbiere di Siviglia with Lyric Opera Kansas City and Dayton Opera, Jupiter in Offenbach’s Orpheus in the Underworld with New Orleans Re–imagine your to–do list. Opera and at Santa Fe Opera, Harlequin and Maximilian in Ariadne auf Naxos and Candide, respectively. Concert debuts include Carmina Era Living is here to help make checking off burana with Seattle Symphony, Brahms’ Requiem with Columbus Symphony and ALL of your retirement goals a breeze. Stanford’s Songs of the Fleet with the New York Choral Society at Carnegie Hall. Ott will Visit one of our eight innovative Independent join the Ensemble of Staatsoper Stuttgart and Assisted Living communities across Seattle, beginning in the 2018–2019 season. Renton, and the Eastside today! JOSEPH CRNKO Check out eraliving.com to learn more Seattle Symphony Associate Conductor for Choral Activities

Joseph Crnko was appointed Associate Conductor for Choral Activities for Seattle Symphony in September SIMON TRPČESKI 2007. Crnko brings a April 5, 7:30 p.m. wealth of choral conducting, arranging, From the intimate world of Mendelssohn’s recording and education Songs Without Words to the kaleidoscopic experience to his position. He has prepared bombast of Rimsky-Korsakov’s the Seattle Symphony Chorale for numerous Scheherazade, pianist Simon Trpčeski’s critically acclaimed performances, including performance is set to dazzle and delight. Bach’s St. Matthew Passion, Britten’s War Requiem, Handel’s Messiah and Verdi’s Requiem. Crnko is currently in his 34th year as Music Director of the Northwest Choirs. During his tenure, he has established the Northwest KATHLEEN BATTLE: Choirs’ reputation as one of the nation’s premier children’s choirs. Crnko tours UNDERGROUND RAILROAD worldwide with the elite Northwest Boychoir, — A SPIRITUAL JOURNEY most recently with concert tours throughout our April 14, 8 p.m. nation and Europe. Under his directorship, the Northwest Boychoir has produced four Returning to Seattle for the first time in two top-selling Christmas recordings. In addition to decades, the legendary opera star explores his work with the Northwest Choirs, Crnko music and words from the Underground regularly conducts orchestral and choral Railroad, together with jazz pianist Joel Martin, the UW Chamber Singers and recording sessions for movie and video game gospel choir The Sound of the Northwest. soundtracks, including those for the video games Halo, Medal of Honor and World of Warcraft. Some of his recent film projects include Boondock Saints, The Celestine Prophecy, The Last Stand and Let Me In.

encoremediagroup.com/programs 33 NORTHWEST BOYCHOIR Joseph Crnko, Music Director MAR 28

Faculty Recital: Melia Watras and Atar Arad, viola

Works by Arad, Britten, Penderecki Photos: VanHouten Ben and Watras, with special guest violinist Northwest Boychoir Vocalpoint! Men Michael Jinsoo Lim. 7:30 pm Meany Theater The Northwest Boychoir’s musical sophistication, rich tonal quality and dedication to exacting perfection have established its reputation as one of the nation’s premier boychoirs. Along with Vocalpoint! Seattle, the Northwest Boychoir has trained thousands of young singers for more than 40 years, and more significantly, shaped the lives of our region’s youth by APR teaching important lessons in personal commitment and the value of teamwork. Led by 16 Joseph Crnko, now in his 34th year as Music Director, the Choir’s staff of professional musicians and educators is engaged in the teaching of a rigorous curriculum that trains young singers, 6–18 years old, to be fully skilled musicians who sing at the highest level, read music fluently and perform in professional settings with confidence.

The Seattle Symphony leads a long list of professional arts groups that rely on the talents of the Boychoir. Last year, the Choir received high praise for their performance of Messiaen’s difficult Trois petites liturgies de la Présence Divine with the Seattle Symphony under the direction of Ludovic Morlot. The choir returned to Benaroya Hall to perform Ravel’s magical opera, L’enfant et les sortilèges last June. This season the Northwest Boychoir has Faculty Recital: Craig Sheppard, performed Vivaldi Gloria and looks forward to Carmina burana, and Stravinsky’s Persephone piano; Sæunn Thorsteinsdóttir, cello with the Seattle Symphony. The Northwest Boychoir closed the season with its annual Performing the Beethoven Cello Sonatas-- presentation of A Festival of Lessons & Carols at Benaroya Hall, presented by the Seattle Opus 5 #1 in F Major and Opus 102 #2 Symphony. in D Major--and Rachmaninoff’s Cello Sonata Opus 19. 7:30 pm Meany Theater Northwest Boychoir Tigran Avakyan Max Dorn Mateo Mihm Sebastian Santa Lucia Thure Bendix Bang Paddy Dunn Johan Novak Jordan Scherr Andrew Barnes Dominic Giuzio Rayjin Olson Theo Schill APR Henry Barnes Matteo Horvat Blake Perti Benjamin Smith 27 Henry Bauck Rohan Kapur Will Rayment Layth Stauffer Dominic Bennett Kenan Lauder Max Rivera Aidan Su Max Boyd Justin Lee Kieran Rogers Zach Wilson Simon Branch Hanri Luo Leo Rosales Leo Winkler Mason Collins David Magidson Nathaniel Rose Forrest Wu Henry Dejanikus Keiyu Mamiya Nico Santa Lucia Andrew Young

Vocalpoint! Men Ben Allwright Julian Collins Hugh Killalea Soren Smith Fletcher Anderson Nathan Condon Lukas Mihm Liam Sternberg UW Symphony Orchestra with William Austin Jacob Espling Eric Mueser Kepler Swanson Ben Lulich, clarinet Donovan Blackham Enrique Garcia Cael Mulligan Andrew Torgelson Works by Lutoslawski, Ravel, and Haydn. Oliver Cauble Doran Goldman Jess Olmstead Xander Uyttendaele David Alexander Rahbee, conductor. Aidan Cazeau Greg Guettler Shane Persaud Sam Viebrock 7:30 pm Meany Theater Jackson Cecil Juan Hillon Ben Puryear Hayden Wainwright Avery Cole James Kerrigan Altay Sarikaya Robert Waltenbaugh

MORE AT: WWW.MUSIC.WASHINGTON.EDU ArtsUW TICKET OFFICE: 206.543.4880

34 SEATTLESYMPHONY.ORG SEATTLE SYMPHONY CHORALE

The Seattle Symphony Chorale serves as the official chorus of the Seattle Symphony. Over the past four decades, the Chorale has grown in artistry and stature, establishing itself as a highly respected ensemble. Critics have described the Chorale’s work as “beautiful, prayerful, expressive,” “superb” and “robust,” and have praised it for its “impressive clarity and precision.” The Chorale’s 120 Photo: Photo: VanHouten Ben volunteer members, who are teachers, doctors, attorneys, musicians, students, bankers and professionals from all fields, bring not only musical excellence, but a sheer love of music and performance to their endeavor. Directed by Joseph Crnko, Associate Conductor for Choral Activities, the Chorale performs with the Seattle Symphony both onstage and in recorded performances.

Soprano Rachel Cherem Alexander Oki Caitlin Anderson-Patterson Lauren Cree James Pham Laura Ash Paula Corbett Cullinane Theodore Pickard Lolly Brasseur Aurora de la Cruz Vijay Ramani Ellen Cambron Lisa De Luca Christopher Reed Emma Crew Robin Denis Jonathan M. Rosoff Erin M. Ellis Cindy Funaro Bert Rutgers Jacquelyn Ernst Carla J. Gifford Peter Schinske Kaitlyn Gervais Amy Gleixner Alan Sheaffer Emily Han Kelly Goodin Spencer Small Teryl Hawk Catherine Haddon M. Scott Spalding Elizabeth Husmann Shan Jiang Max Willis Caitlin Hutten Shreya Joseph Sharon Jarnigan Inger Kirkman* Bass Elizabeth Johnson Sara Larson John Allwright Katy Kaltenbrun Rachel Lieder Simeon Christopher Benfield Kirkland Choral Society Seung Hee Kim Monica Namkung Jay Bishop & Philharmonia Northwest present Lori Knoebel Erica J. Peterson Hal Bomgardner Kori Loomis Angela Petrucci Andrew Cross Janelle Maroney Karis Pratt Darrel Ede VERDI’s REQUIEM Megan McCormick Beth Puryear Morgan Elliott Adrienne Selvy Mildon Alexia Regner Evan Figueras 2PM SATURDAY, MARCH 24, 2018 Geraldine Morris Valerie Rice Curtis Fonger BENAROYA HALL, SEATTLE Kristen Nelson Emily Ridgway Steven Franz Rachel Nofziger Dale Schlotzhauer David Gary KIM GIORDANO, SOPRANO Helen Odom Darcy Schmidt Raphael Hadac MELISSA PLAGEMANN, MEZZO-SOPRANO Nicolle Omiste Carreen A. Smith Kelvin Helmeid TIM JANECKE, TENOR Margaret Paul Heather Allen Strbiak Rob Jones CLAYTON BRAINERD, BASS-BARITONE Sasha S. Philip Kathryn Tewson Ronald Knoebel Kaitlin Puryear Paula Thomas Tim Krivanek KIRKLANDCHORALSOCIETY.ORG PHILHARMONIANW.ORG Emily Reed JoAnn Wuitschick KC Lee Kirsten Ruddy Mindy Yardy Thomas C. Loomis Ana Ryker Bryan Lung Emily Sana Tenor Glenn Nielsen Barbara Scheel* Matthew Blinstrub Brandon John Reid Laura A. Shepherd James Clarke Ken Rice Bischofberger Joy Chan Tappen Spencer Davis Martin Rothwell* est. 1955 Catherine Thornsley Anton R. du Preez Edward Sam Violins Andrea Wells Jacob Garcia Christopher Smith Jim Howeth Garrett Smith Professional Alto Neil Johnson Jim Snyder Repairs Cynthia Beckett Kevin Kralman* Joseph To Cyra Valenzuela Benedict Patrick Le Quere Michael Uyyek Appraisals Ivy Rose Bostock Ian Loney Jared White & Sales Nancy Brownstein James H. Lovell Carol Burleson Andrew Magee * principal of section 1314 E. John St. Kathryn Cannon Miller Lucky James Middaugh Terri Chan Ed Morris Seattle, WA 206-324-3119 www.bviolins.combviolinsltd.com

encoremediagroup.com/programs 35 BV 071811 repair 1_12.pdf PROGRAM FRIDAY, MARCH 16, 2018, AT 7PM NOTES DE FALLA UNTUXED UNTUXED SERIES HEITOR VILLA-LOBOS Quintette en forme de chôros Pablo Rus Broseta, conductor BORN: March 5, 1887, in Rio de Janeiro Jonathan Green, host DIED: November 17, 1959, in Rio de Janeiro Raquel Lojendio, soprano WORK COMPOSED: 1928 Jeffrey Barker, flute WORLD PREMIERE: March 14, 1930, at the Salle Chengwen Winnie Lai, oboe Chopin, Paris Dan Williams, English horn Eric Jacobs, clarinet This composition reveals an original Paul Rafanelli, bassoon musical imagination. Episodic in form, Seattle Symphony it juxtaposes florid solos, rhythmic ensemble passages, sensuous tropical HEITOR VILLA-LOBOS Quintette en forme de chôros 10’ melodies and hints of South American dances. The music flows from one thought JEFFREY BARKER, FLUTE to the next in stream-of-consciousness CHENGWEN WINNIE LAI, OBOE fashion. DAN WILLIAMS, ENGLISH HORN ERIC JACOBS, CLARINET Heitor Villa-Lobos was and remains PAUL RAFANELLI, BASSOON Brazil’s great national composer. His early compositions attempted to express MANUEL DE FALLA El sombrero de tres picos 38’ an unambiguously Brazilian character, (“The Three-Cornered Hat”) including a raw, exotic energy. But as he Introducción (“Introduction”)— matured, his music came to reflect his study Part I: of European composers, notably Debussy La tarde (“Afternoon”)— and Bach. The result was a sophisticated Danza de la molinera: Fandango style that nevertheless remained rooted (“Dance of the Miller’s Wife”)— in the rhythms and melodic inflections of Las uvas (“The Grapes”) Brazilian folk music. Part II: During the 1920s, Villa-Lobos composed Danza de los vecinos: Seguidillas a series of works he called Chôros, a (“Dance of the Neighbor’s”) word indicating a type of popular music Danza del molinero: Farruca improvised since the 19th century by bands (“The Miller’s Dance”)— of instrumentalists in Rio de Janeiro. Chôros Danza del corregidor is comparable to jazz in its improvisational (“Dance of the Magistrate”) character and virtuosity, and it bears roughly Danza final: Jota (“Final Dance”) the same relationship to Brazilian folk song RAQUEL LOJENDIO, SOPRANO as jazz does to our popular “standards.” Closely related to this series of pieces, Program notes for Manuel de Falla’s El sombrero de tres picos though not properly part of it, is the (“The Three-Cornered Hat”) may be found on pages 23–24. Quintette en forme de chôros for five wind instruments. Villa-Lobos composed See Pablo Rus Broseta’s biography on page 21 and Raquel Lojendio’s biography it in 1928, toward the end of a sojourn of several years in Paris, and his contact there on page 32. All other biographies may be found at seattlesymphony.org. with the musical vanguard represented by Stravinsky and Ravel is reflected in the work’s modernist idiom. In this piece Villa- Lobos abstracted elements of chôros music in a manner comparable to Stravinsky’s treatment of Russian folk music in his ballet Petrushka, retaining some of its general features but distorting them through complex harmonies and rhythms. Even so, Please note that the timings provided for this concert are approximate. its Brazilian provenance remains evident. Please turn off all electronic devices and refrain from taking photos or video. Performance ©2018 Seattle Symphony. Copying of any performance by camera, audio or video recording Scored for flute; oboe; English horn; clarinet; bassoon. equipment, and any other use of such copying devices during a performance is prohibited. © 2018 Paul Schiavo

36 SEATTLESYMPHONY.ORG Business, meet Beethoven.

Encore Media Group connects businesses and brands to the best of arts & culture in Seattle and the Bay Area. We’re proud to have published programs with the Seattle Symphony for 35 years. From fashion and finance to dining and diamonds, smart business owners know Encore is the best way to get their brand in the spotlight.

To learn what Encore can do for your business, visit encoremediagroup.com. PROGRAM NOTES MONDAY, MARCH 19, 2018, AT 7:30PM

Few details are known about the life of JOSEPH ADAM the French organist and composer Pierre Dumage. He was born around 1674 in IN RECITAL Beauvais; his father was the organist of FLUKE/GABELEIN ORGAN RECITAL SERIES the cathedral in Beauvais, and surely must have supplied his son with his first musical Joseph Adam, organ training. Dumage moved to Paris in 1694 to study with the celebrated Louis Marchand, PIERRE DUMAGE Premier livre d’orgue (“First Organ Book”) 15’ without question the finest French organist Plein jeu of the day. First appointed organist at Fugue St.-Quentin in Paris, he became organist Trio at the cathedral of Laon in 1710. Dumage Tierce en taille found many of the conditions of his Basse de trompette employment intolerable, and resigned in Grand jeu 1719. He spent the remainder of his life as a civil servant. His only extant composition, the Premier livre d’orgue (“First Organ MAURICE RAVEL Andante: Très lent Book”) was completed in 1708. In the /trans. Édouard Commette from in F major 9’ dedication, Dumage acknowledges the influence of his teacher Marchand. These short pieces are typical of French organ CÉSAR FRANCK Choral No. 1 in E major 14’ music around 1700, and most likely were written to be played in alternatum with INTERMISSION sung verses of the Magnificat during Sunday Vespers, a standard practice in LOUIS VIERNE Symphony No. 4 in G minor, Op. 32 38’ French cathedrals and churches during Prélude this era. Dumage’s sole contribution to the Allegro organ repertoire has been praised for its Menuet craftsmanship, heightened sensitivity and Romance genuine emotion. Final Maurice Ravel’s sole contribution to the string quartet literature was completed in 1903, when he was still a student at the Paris Conservatoire. Though dedicated to his teacher Gabriel Fauré, it shows decided influences of both Fauré and Claude Debussy, whose own string quartet had been completed only nine years earlier. Ravel certainly acknowledged the similarities with Debussy (“For Debussy the musician and man, I felt a profound admiration, but I differ from him by nature.”) Ravel’s own work may have been inspired by Debussy’s emphasis on musical colors and textures, but it also bore the influence of Fauré in Ravel’s ability to write within traditional structures and techniques of thematic development. The work’s third movement is a free fantasy on the opening theme of the first movement, with particular emphasis on exploring instrumental color and texture. The transcription on tonight’s program is the work of Édouard Commette, a French organist and composer who enjoyed a long career as an educator and cathedral organist in his native city of Lyon. 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 ©2018 Seattle Symphony. Copying of any performance by camera, audio or video recording Though Belgian by birth, César Franck equipment, and any other use of such copying devices during a performance is prohibited. spent most of his life in Paris. He was a tireless worker, rising early each morning to devote a few hours to composition

38 SEATTLESYMPHONY.ORG JOSEPH ADAM PROGRAM NOTES Organ Organist Joseph Adam was appointed before beginning a day filled with lessons were an outlet and reflection of his inner Cathedral Organist at St. all over the city. Franck’s most enduring emotional life; his Symphony No. 4 in G James Cathedral in influence was his work as professor of organ minor, written in the summer of 1914, was Seattle in 1993, in 2016 at the Paris Conservatoire and organist no exception. he assumed additional titulaire of the great Cavaillé-Coll organ at duties as Associate the church of St. Clotilde. In the final summer The work is cast in cyclical form — the same Director of Music. Since Photo: James Holt James Photo: of his life, he composed three “chorals” for themes are found throughout the entire 1997 he has also been a the organ, works infused with the inspiration composition, reworked and transformed faculty member at the University of Puget of Bach and Beethoven. These three rhythmically and harmonically — giving the Sound in Tacoma. chorals were never performed by Franck symphony a particular cohesiveness. The in public, but only privately at the piano for opening movement serves to present the His playing received international attention his own students shortly before his death. two major melodic themes and the overall when he was awarded the First Prize in Franck had wished to write chorals for the anguished mood of the work. The Allegro the St. Albans International Organ organ as J.S. Bach had, but a very different that follows is cast in traditional sonata- Competition in 1991, one of the most type of choral. Whereas Bach’s are based allegro form with a fugal development. prestigious organ competitions in the world. on preexisting congregational melodies, The third movement, an angular Menuet, His performances have included recitals Franck’s works are based on original eases the overall tension somewhat. In in notable venues throughout Europe and choral-like melodies that provided material many ways, the movement pays tribute America. Last season, he performed the for a fantasy-type work. The composer to Vierne’s own mentor, Charles-Marie complete works of Maurice Duruflé, both in remarked: “You will see, the real chorale Widor, with the use of piquant reeds, lightly is not the chorale itself; it is something articulated 8’ pedal lines and double Seattle and as part of the annual East Texas that grows out of the piece.” More than pedal in the trio section, all techniques Pipe Organ Festival. a century later, these three works have used by Widor in his own symphonies. come to represent the pinnacle of Franck’s The Romance is one of Vierne’s most As Resident Organist of the Seattle essential contribution to the rebirth of organ inspired and expressive slow movements, Symphony since 2003, Joseph Adam composition in France. The first of the three, constructed around a new opening theme performs regularly with the orchestra, the Choral in E major opens with a series presented in the lower octaves on the solo and can be heard on numerous recent of alternating episodes before the choral reeds and celestes of the organ, all cast in recordings by the Seattle Symphony in first appears; it is then developed through the sonorous key of D-flat major. The Final works by Dutilleux, Stravinsky, Debussy, a series of variations before a final heroic reestablishes the wild anguish of the work, John Luther Adams, Charles Ives and the statement. with the principal themes now transformed Saint-Saëns Organ Symphony. into a brutal perpetuum mobile, easily Organist of the Cathedral of Notre-Dame seen as the musical depiction of Vierne’s beginning in 1900, Louis Vierne’s life was For the past 30 years, music written by almost never-ending personal sorrows and one filled in equal measure of triumph the great French organists has been agonies. and disappointment. Born nearly blind, an essential part of my recital repertoire. he entered César Franck’s class at the © 2018 Joseph Adam There’s so much to love about this music — I Paris Conservatoire only two months love the élan and bite of the classical before Franck’s death. Charles-Marie repertoire, like the Dumage that opens the Widor, Franck’s successor, gave invaluable program. But it’s the late 19th and 20th instruction and encouragement to the century composers that inspire me the most. young organist-composer. Vierne emulated Franck was able to capture a serenity at the his mentor with six symphonies for organ, organ unmatched by perhaps any other composed over a thirty-five year span. composer; the Trois Chorals were his last Though a child of the 19th century, Vierne’s compositions, and are a profound compositional language was shaped by valedictory contribution to our repertoire. the new trends of the 20th century. While Since my days as a piano student, I have his use of chromaticism sometimes pushed adored the music of Maurice Ravel; sadly, he tonal harmony almost to the breaking wrote nothing for the organ, so tonight’s point, Vierne was careful to work within program includes a transcription of the established compositional structures. ravishing slow movement from his only string Vierne enjoyed many professional quartet. Finally, I particularly love the music of successes as a recitalist, teacher and Louis Vierne. Little came easy for Vierne, and composer; however, his personal life was he was plagued with all manner of hardships filled with one catastrophe after another. throughout his career. Luckily for us, he was In addition to the burdens of his near able to channel this into music of great blindness, within only a few years he expressiveness and emotion. experienced the death of his mother and son, the breakup of his marriage, near death from typhoid and a compound fracture of his leg that nearly cost him his career. Throughout his life, Vierne’s compositions

encoremediagroup.com/programs 39 OVERVIEW THURSDAY, MARCH 22, 2018, AT 7:30PM SATURDAY, MARCH 24, 2018, AT 8PM SUNDAY, MARCH 25, 2018, AT 2PM To the Sea Within the orchestral literature is a group SIBELIUS of compositions inspired by the sea and endeavoring to evoke it through various musical devices. Probably the earliest is SYMPHONY NO. 2 a concerto by Antonio Vivaldi titled La tempesta di mare (“The Storm at Sea”). Other notable examples include Felix Mendelssohn’s “Hebrides” Overture, with Ludovic Morlot, conductor its own vivid sea storm; Claude Debussy’s Seattle Symphony symphonic seascape La mer; and John Luther Adams’ Become Ocean, which JEAN SIBELIUS The Oceanides, Op. 73 11’ Seattle Symphony commissioned and premiered, and which won the Pulitzer Prize BENJAMIN BRITTEN Four Sea Interludes and Passacaglia 23 for music in 2014. from Peter Grimes, Op. 33a and 33b It is not surprising that the sea should have Dawn: Lento e tranquillo— inspired these and other composers. The rise Sunday Morning: Allegro spiritoso— and fall of waves finds parallel in the rising Moonlight: Andante comodo e rubato— and falling pitch of melodic lines. The varied Passacaglia— movement of water produces rhythms that Storm: Presto con fuoco music readily can represent. Basses and low INTERMISSION brass can suggest oceanic depths, violins and woodwinds intimate spray and foam. JEAN SIBELIUS Symphony No. 2 in D major, Op. 43 44’ Allegretto Our concert begins with further instances Tempo andante, ma rubato of music inspired by the sea. Jean Sibelius’ Vivacissimo— The Oceanides paints a musical portrait Finale: Allegro moderato not only of the ocean but of mythological water nymphs who reside within it. Benjamin Britten’s Sea Interludes, from his opera Pre-concert Talk one hour prior to performance. Peter Grimes, are tonal pictures of sea and Speaker: Gavin Borchert, Seattle Weekly Music Critic shore that double as expressions of mood and psychological state of the opera’s characters. The second half of our concert brings us back to dry land — or, more accurately, to the realm of abstract music that is neither land nor water, nor anywhere particular. Sibelius’ Second Symphony does not intend to transport us to sea or forest, mountains or desert, but it is one of the works on which the composer’s popularity firmly rests.

Benjamin Britten’s Peter Grimes has always been one of my favorite operas. The incredibly inventive sound world of Britten is instantly recognizable. His Four Sea Interludes and Passacaglia together provide a window into the anxiety, anger and loneliness felt by the opera’s titular character. I am particularly fond of how Britten depicts the storm at sea in the last of these interludes while using a style reminiscent of Mahler’s Kindertotenlieder.

Sibelius’ Second Symphony is one of the most powerful expressions of Romantic Please note that the timings provided for this concert are approximate. symphonic music. Its finale contains one of Please turn off all electronic devices and refrain from taking photos or video. Performance ©2018 Seattle Symphony. Copying of any performance by camera, audio or video recording the most gorgeous melodies of all time. I love equipment, and any other use of such copying devices during a performance is prohibited. Sibelius’ virtuosic writing for the orchestra, which we can witness in the thrilling scherzo movement. Oceanides provides a nice

40 SEATTLESYMPHONY.ORG PROGRAM NOTES thematic link to the world of the sea, and to of the oceanides themselves. The work’s He had grown up within sight of the North John Luther Adam’s Become Ocean — a opening measures, with their gently rising Sea and subsequently built a studio in an fitting connection as the orchestra and I will and falling string figures, may convey the abandoned windmill near the coastal town be presenting that work alongside Sibelius motion of a calm sea, wide and empty. of Aldeburgh. It was here, in 1944, that he and Britten during our upcoming tour to But the more sprightly phrases presented composed Peter Grimes, and he vividly California and Nevada. moments later by the flutes sound like vocal captured the atmosphere of the place in calls, then expand to evoke movement that four Sea Interludes that link various scenes – Ludovic Morlot is both playful and graceful. Here are the in the opera. oceanides, singing, swimming and frolicking Dawn serves as a prelude to Act I. It See Ludovic Morlot’s biography on page 6. in their natural element. Sibelius recalls their is based on three motifs: an ethereal theme from time to time, weaving it through melody heard high in the violins and flute; the sea music. JEAN SIBELIUS a running figure that suggests the flight The Oceanides, Op. 73 Scored for 2 flutes and piccolo; 2 oboes and English of birds; and a chorale-like theme for the horn; 2 clarinets and bass clarinet; 2 bassoons and brass. Sunday Morning, the second piece, BORN: December 8, 1865, in Hämeenlinna, contrabassoon; 4 horns; 3 trumpets; 3 trombones; 2 timpani and percussion; 2 harps; strings. juxtaposes pealing church bells — heard Finland at the outset as horn calls and rhythmic DIED: September 20, 1957, in Järvenpää, Finland figures in the woodwinds — with a broad WORK COMPOSED: 1914 BENJAMIN BRITTEN melody assigned to the low strings and WORLD PREMIERE: June 4, 1914, in Norfolk, embroidered with elaborate figuration by Connecticut, with the composer conducting a Four Sea Interludes and Passacaglia the flute. from Peter Grimes, Op. 33a and 33b specially assembled orchestra. The third Sea Interlude, Moonlight, paints BORN: November 22, 1913, in Lowestoft, England a nocturnal picture, its somber phrases for the strings and low winds flecked Lines and textures sounded by the DIED: December 4, 1976, in Aldeburgh, England with flute, piccolo, percussion and harp string and brass instruments create WORK COMPOSED: 1944 tones. The final Interlude, Storm, prefaces aural pictures of rolling waves, sprays WORLD PREMIERE: Britten’s opera Peter Grimes the opera’s second scene. Here rising of foam and wind whipping up large swells. premiered on June 7, 1945, in London. Less wind and turbulent waters indicate not But we also hear the sea nymphs of the than a week later, on June 13, the composer only a meteorological event but the state work’s title, mostly in music for woodwinds. conducted the London Symphony Orchestra of Grimes’s soul. Britten’s violent music Our first glimpse of them comes with the at the Cheltenham Music Festival in the first suggests his protagonist’s tortured existence sound of flutes in the initial minutes, the last independent performance of the Four Sea as much as the sea lashed by a gale. in a closely harmonized phrase for clarinets Interludes. Another orchestral entr’acte, the shortly before the end. Passacaglia, received its first independent In addition to the four Sea Interludes, performance on August 29, 1945, in London, when Britten wrote a more extensive piece, a the BBC Symphony Orchestra played it under the Passacaglia, to bridge the two scenes of In ancient Greek legend, the oceanides direction of Adrian Boult. were daughters of Oceanus, god of the the opera’s second act. A centuries-old primordial water that encircled the world compositional procedure, passacaglia from its beginning, and Tethys, his wife and The Sea Interludes, entr’actes from entails a melodic idea, usually introduced sister. Aeschylus, in his drama Prometheus Peter Grimes, are really tonal pictures in a low register, that repeats continuously Bound, describes them as “children of evoking scenes in the coastal village through the course of the piece. Against teeming Tethys and of him / who girdles all in which Britten’s opera is set. They conjure this recurring theme, the composer weaves the world with stream unsleeping, / Father the stillness of a North Sea sunrise, the flight an ever-changing contrapuntal fabric. Ocean ... .” Although descriptions are few in of birds, the sound of church bells, the Britten establishes the recurring theme of classical Greek literature, we can imagine ghostly calm of a moonlit night and, his Peter Grimes passacaglia at the outset, them as something like mermaids. inevitably, a storm at sea. scoring it for low strings (playing pizzicato) These sea nymphs are the subject of the and timpani. The immediate restatement of tone-poem by Jean Sibelius that begins Benjamin Britten was one of the several this idea brings with it a lamenting soliloquy our concert. The Finnish composer wrote great composers of opera active during for solo viola, and most of the ensuing The Oceanides in 1914 for a music festival the last century. His combination of an developments are related to its melody. in Norfolk, Connecticut, and he conducted instinctively lyrical approach to music and Subsequent elaborations of the passacaglia the work’s first performance during his only keen sense of drama produced a series of subject are remarkably varied and shaped visit to America. At this time Olin Downes, deeply eloquent works for the theater, the so that the music builds inexorably to longtime music critic of the Boston Post first being Peter Grimes. a climax marked by thundering timpani and New York Times, thought it “the finest strokes and a great tam-tam crash. From Based on a story by the English poet George evocation of the sea ever produced in this emerges a haunting reprise of the Crabbe, Peter Grimes tells of a rough music.” He went on to describe “free viola melody (now with an atmospheric fisherman whose sullen and unsociable sonorities which reflect natural phenomena” accompaniment by celeste), then a final demeanor leads to his persecution by and the music’s “picture of limitless and statement of the passacaglia theme, the suspicious inhabitants of his isolated eternal power.” sounding as stark and unadorned as when fishing village. The sea and bleak East we first heard it. It is curious, however, that Downes missed Anglian shoreline provides an evocative what seem to be fairly clear evocations background. Britten knew this coast well.

encoremediagroup.com/programs 41 PROGRAM NOTES

Scored for 2 flutes and piccolo (the 2nd flute Sibelius’ Second Symphony can serve to doubling 2nd piccolo); 2 oboes; 2 clarinets (the 2nd dispel another misconception surrounding clarinet doubling E-flat clarinet); 2 bassoons and contrabassoon; 4 horns; 2 trumpets and piccolo his music. Because the moods presented trumpet; 3 trombones; tuba; timpani and percussion; by his compositions are often intensely harp; celeste; strings. subjective, it has been widely assumed that their creation was guided by expressive JEAN SIBELIUS rather than formal considerations. In fact, Sibelius achieved a remarkable mastery of Symphony No. 2 in D major, Op. 43 tonal architecture. The Second Symphony WORK COMPOSED: 1901–02 reveals a four-movement structure in the classical mold: a strong opening followed by WORLD PREMIERE: March 8, 1902, in Helsinki. a slow movement, scherzo and rapid finale, The composer conducted the Helsinki with thematic cross-references between Philharmonic Orchestra. movements helping to unify the design. The symphony opens with eight measures The pulsating chords with which this of throbbing chords. These function as a symphony begins recur throughout motivic thread binding the first movement: the first movement and, in altered they accompany both the pastoral first form, in the third movement as well. Other theme, announced by oboes and clarinets thematic recurrences include the (and echoed by horns), and a contrasting plummeting second theme of the opening second theme consisting of a sustained high movement, variations of which produce note followed by a sudden descent. The some of the most stirring moments in the latter merits careful attention, since it will ensuing movement. appear in several transformations later in the work. The music of Jean Sibelius has waxed A drum roll announces the second and waned in popularity over the last movement. Sibelius sketched its initial theme century. Although he worked through the while considering writing a tone poem on 1920s, Finland’s great composer never the Don Juan legend, and much of the adopted the innovations or the spirit of the music that follows has an intensely dramatic modernist revolution that reshaped music character that seems suited to that story. after 1900. As a result, his work inevitably was caught up in the polemical battles over Distant echoes of the series of chords modernism versus Romanticism that raged that opened the symphony can be heard for much of the twentieth century. During throughout the scherzo third movement: in his lifetime, Sibelius enjoyed international the repeated notes that start both the violin acclaim amounting, in some quarters, to runs at the beginning of the movement and adulation. But following his death, in 1957, the limpid oboe melody later on, as well as his star was partially eclipsed by the growing in the trombone chords that accompany appreciation of the early modernists, and the a triumphant theme that appears near the frequency with which his compositions were movement’s end. This latter passage leads performed fell sharply. without pause into the last movement, which begins modestly but builds to one of Today it is possible to view Sibelius in a the most exultant finales in the symphonic more objective light, and the past three literature. decades have seen a significant revival of interest in his music: new recorded cycles Scored for pairs of woodwinds; 4 horns; 3 trumpets; 3 trombones; tuba; timpani; strings. of the complete symphonies, increasingly frequent performances of his works and © 2018 Paul Schiavo praise from a new generation of composers. Sibelius’ ultimate place in the history of music will surely be as neither the savior his partisans hailed nor the arch-reactionary derided by his detractors. Rather, he may best be understood as a 19th-century composer whose hearty constitution allowed him to live and work well into the 20th century, continuing to use the rich tonal language of the late-Romantic era to create a powerful and personal body of music.

42 SEATTLESYMPHONY.ORG

THURSDAY, MARCH 29, 2018, AT 7:30PM SATURDAY, MARCH 31, 2018, AT 8PM JOHN LUTHER ADAMS BECOME DESERT

Today’s concert is made Ludovic Morlot, conductor possible by the generous Jeremy Denk, piano community of people Women of the Seattle Symphony Chorale who supported the Seattle Symphony Seattle Symphony during LUDWIG VAN BEETHOVEN Piano Concerto No. 5 in E-flat major, Op. 73, 38’ the Seattle Foundation’s “Emperor” 2017 GiveBIG. Allegro Adagio un poco mosso— Rondo: Allegro Symphony donors make JEREMY DENK, PIANO it possible for us to attract INTERMISSION and retain outstanding orchestra musicians, bring JOHN LUTHER ADAMS Become Desert (World Premiere) 40’ world-class conductors WOMEN OF THE SEATTLE SYMPHONY CHORALE and soloists to the stage, and keep ticket prices See the Seattle Symphony Chorale’s biography and roster on page 35. affordable so more people Pre-concert Talk one hour prior to performance. can share in the joy of Speaker: Dave Beck, Classical KING FM 98.1 Host symphonic music.

Following Saturday’s performance, join KUOW’s Front Row Center in the Samuel & Althea Stroum Grand Lobby for a conversation with Ludovic Morlot To each and every and John Luther Adams, hosted by Marcie Sillman. Symphony supporter, thank you for Jeremy Denk’s performances are generously underwritten by Dr. Susan Detweiler, in bringing outstanding memory of Dr. Alexander Clowes, through the Seattle Symphony’s Guest Artists Circle. symphonic music to Become Desert is commissioned by the Seattle Symphony with the generous support of Dale and Leslie Chihuly. this community! Media Sponsor: Classical KING FM 98.1 Performances sponsored by Seattle Symphony GiveBIG supporters.

Mark your calendar for GIVEBIG Wednesday, May 9, 2018

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 ©2018 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

encoremediagroup.com/programs 43 OVERVIEW PROGRAM NOTES

Become Desert Beethoven’s “Emperor” Concerto expresses Buonapart, to the anonymous Sinfonia such ambition in form and sound — a good eroica (“Heroic Symphony”). Among the highlights of Ludovic Morlot’s compliment to John Luther Adams’ vision to But despite the unfortunate political tenure as Music Director of Seattle create sonically the vastness of the desert connotation, “Emperor” does not seem Symphony, the 2013 premiere of John landscape and how one becomes part of an inappropriate title for the E-flat Piano Luther Adams’ Become Ocean shines that landscape. brightly. Commissioned by Seattle Concerto. In 1809, when Beethoven Symphony, this composition presented a composed it, this work far surpassed all large-scale sonic environment inspired by – Ludovic Morlot other concertos in its expression of majesty and modeled on patterns of oceanic tides, and heroism. During the first decade of See Ludovic Morlot’s biography on page 6. currents and waves. The piece gained the 19th century, Beethoven transformed quick recognition for its accomplished the piano concerto as thoroughly as he craftsmanship and novel premise. “The LUDWIG VAN BEETHOVEN had the symphony. His first two keyboard music unfolds in the sonic equivalent of concertos, like his First Symphony, were waves,” wrote Anthony Tommasini, head Piano Concerto No. 5 in E-flat major, cast along classical lines defined by Haydn music critic of The New York Times, after Op. 73, “Emperor” and Mozart. These were attractive, skillfully Seattle Symphony performed it at Carnegie BORN: Bonn, December 16, 1770 constructed compositions, but they spoke Hall, “with … oscillating figures, rippling the relatively restrained musical language DIED: March 26, 1827, in Vienna riffs, spiraling motifs, pulsating rhythms.” of the previous generation. In his Third WORK COMPOSED: 1809 He added that a listener “must enter into and Fourth Piano Concertos, however, a ruminative state to experience this work WORLD PREMIERE: November 28, 1811, in Beethoven created works more sweeping on its own terms.” In 2014 Become Ocean the Leipzig Gewandhaus. Friedrich Schneider in scope and more grand in sonority than received the Pulitzer Prize in music. performed as soloist, and Johann Schulz any previous concerto. The Fifth, his final conducted the famed Gewandhaus Orchestra. piano concerto, crowned his endeavors This week, we hear a sequel to that work. in this field, and it retains an imperious Become Desert completes a trilogy with position among compositions in its genre Beethoven establishes the lordly Become River and Become Ocean. (Adams even today. composed Become River in 2010 for the character of his “Emperor” Concerto Saint Paul Chamber Orchestra, interrupting in its opening moments, as three Ironically, this composition, which is today his work on Become Ocean to do so.) sonorous orchestral chords each give way so widely admired, began its career on The composer, who spent four decades to cadenza-like flourishes from the piano. a decidedly inauspicious note. Of its first in Alaska before relocating to the desert This serves as a prelude to the usual performance, which took place in Leipzig of Mexico, has declared himself “highly orchestral paragraph, one of the grandest in 1811, little is known. The Vienna premiere suspicious of political art.” Nevertheless, and longest in any concerto. A deeply was given two years later. Contemporary he writes in a preface to Become expressive slow movement proceeds to the reviews report the concerto’s poor Desert: “Living in Alaska for much of my life, finale by way of an ingenious transition. reception. One journalist observed that I’ve experienced first-hand the accelerating “Beethoven, full of proud confidence in himself, never writes for the multitude; effects of anthropogenic climate change The title “Emperor,” by which Beethoven’s he demands understanding and feeling, on the tundra, the forest, the glaciers, Fifth Piano Concerto has been known [which] he can receive only at the hands of the plants, animals and people of the Far since the early 19th century, probably the knowing.” A public sufficiently “knowing” North. Living in this desert by the sea, I’ve stems from one of the many apocryphal to appreciate this work did not emerge pondered from a new perspective the anecdotes that have come to us until the middle of the 19th century, and the melting of the polar ice and the rising of the concerning the composer. According to piece was played publicly only once more seas. And now I’m considering more deeply this story, a French army officer stationed during Beethoven’s lifetime. Only thanks Chateaubriand’s observation: ‘Forests in Vienna attended the first performance to pianists like Clara Schumann and Franz precede civilizations, and deserts follow…’” of the work in the Austrian capital and was Liszt, who made a point of performing so moved by the grandeur of Beethoven’s It is wonderful to revisit the sound Beethoven’s final concerto, did it finally music that he cried out: “C’est l’Empereur!” world of John Luther Adams, even receive proper recognition. though his new composition Become (“It is the Emperor!”) While this work follows the traditional Desert promises to be a very different Even if this story were true, and even concerto format of three movements sonic landscape than Become Ocean. With if Beethoven was able to hear the in a fast–slow–fast pattern, Beethoven this new composition, Adams returns to a exclamation — he was, by this time, introduces several formal innovations. The technique from his early days: organized nearly deaf — the comparison with first comes at the very outset, with the sound in space. As will be obvious from Napoleon would hardly have flattered thrice-stated gesture of a grand orchestral the stage set-up, you will soon find the composer. Once an ardent admirer chord that seems to propel the piano into yourselves immersed within great sound of Bonaparte, Beethoven had become a flight of virtuoso fancy. The orchestra waves. bitterly disenchanted as the French ruler’s then presents the initial theme of the first ambition revealed itself. The most famous It is a joy to have Jeremy Denk with us this movement. Its quasi-martial character evidence of this change of heart is the season as one of our Featured Artists. Each places the music in the Classical-period well-known account of how the composer, opportunity to share a stage with Jeremy is tradition of “military concerto” openings, after hearing that Napoleon had assumed such a gift. I know he will challenge us all to a tradition to which several of Mozart’s the throne, changed the title of his Third find new and fresh ideas in this repertoire. keyboard concertos and Beethoven’s Symphony from its original homage,

44 SEATTLESYMPHONY.ORG earlier Piano Concerto in C, Op. 15, also belong. We have not heard the last of the magisterial flourishes that opened the concerto, however. They sound again late in the movement at a key juncture: the return to the tonic key of E-flat major, following much harmonic peregrination and an inventive, at times turbulent, development of the proud main subject. The Adagio second movement is a serene and devout meditation, one of Beethoven’s most beautiful and tender creations. It concludes with a final musing by the piano that evolves magically into the principal theme of the third movement. (This transition, another formal innovation, recalls the similar passage linking the scherzo and finale of Beethoven’s Fifth Symphony.) The music that follows fits the description of the eminent English conductor and commentator Donald Francis Tovey, who extolled “this most spacious and triumphant of concerto [finale]s.”

Scored for solo piano; pairs of woodwinds, horns and trumpets; timpani; strings.

JOHN LUTHER ADAMS Become Desert EAP 1_3 S template.indd 1 2/28/17 11:05 AM BORN: January 23, 1953, in Meridian, Mississippi NOW RESIDES: Mexico and New York WORK COMPOSED: 2016 WORLD PREMIERE: March 29 and 31, at Benaroya Hall, Seattle. Ludovic Morlot conducts Seattle Symphony and Chorale.

As everyone who has spent time in a southern desert knows, light is a constant and imposing presence throughout the day. It shimmers, glares, sometimes softens. It can reveal the beauty of wide vistas and small details; it can be nearly blinding. And it is constantly changing. Become Desert renders desert light into sound. The music evolves slowly and seamlessly, without episodic events or drama. It requires, and induces, a contemplative form of listening. YOUR SYMPHONY. YOUR LEGACY. Making a gift through your will or estate ensures the Among the paradoxes that define civilization orchestra thrives long into the future, continuing to in the early 21st century, perhaps none is more striking than growing reverence for the bring people together and lift the human spirit through natural world, and acknowledgement of our the power of music. dependence on it, even as environmental crises deepen across the planet. Nearly half a century has passed since the first Earth Day For more information on how you can make a gift through your estate, contact observance marked the beginning of modern ecological consciousness and activism. Today, Becky Kowals at 206.215.4852 or [email protected] as nature is relentlessly degraded by human activity, three in four Americans say that

encoremediagroup.com/programs 45 JEREMY DENK PROGRAM NOTES Piano Jeremy Denk is one of America’s foremost environmental protection is an important issue important traits with Become Ocean. One pianists. Winner of a for them. is its conception as music for several MacArthur Genius ensembles that are distinct yet part of Fellowship and the The new environmental awareness has, a larger whole. Adams has divided the Avery Fisher Prize, Denk inevitably, found its way into the arts. British orchestra for Become Desert into five was recently elected to sculptor Richard Long, for instance, has turned ensembles, each with its own palette of the American Academy from conventional sculptural materials and Shervin LainezPhoto: sounds and each stationed in a separate of Arts and Sciences. procedures in favor of rearranging branches, location. (The composer notes that the stones and other natural substances found Denk returns frequently to Carnegie Hall physical placement of instruments is a in situ to form temporary outdoor sculptures. and has recently performed with the fundamental element of this piece.) One Seattle-based photographer Chris Jordan has Chicago Symphony Orchestra, New York ensemble, made up of strings, harps and created disturbing images that bring home Philharmonic, Los Angeles Philharmonic, percussion, is stationed on stage. The the reality and cost of nature’s despoiling. San Francisco Symphony and Cleveland remaining four groups are placed at different Orchestra, as well as on tour with Academy spots around the auditorium. One of these Among today’s creative musicians, St. Martin in the Fields and at the Royal ensembles consists largely of voices, which none embodies the new environmental Albert Hall this summer performing Bartók 2 consciousness more than John Luther Adams, following a modern tradition that is in his return to the BBC Proms. Denk’s last Adams. For some four decades, this American now more than a century old, uses as though disc for Nonesuch was his widely acclaimed composer has made the sounds and they were instruments rather than to convey recording of the Goldberg Variations, which processes of nature the source and subject a text. Their singing intones just one single- of his work. Birdsongs, winds, the boom syllable word: luz, Spanish for “light.” reached No. 1 in the Classical Billboard of ice breaking in the Alaskan wilderness, Charts. Denk graduated from Oberlin The other unusual aspect Become Desert the electrical fields that produce the aurora College, Indiana University and The Juilliard shares with Become Ocean concerns its borealis — this and much more has found its School, and currently lives in New York City. musical rhetoric — or, more accurately, way into his music. A milestone in Adams’ lack of it. The composition is neither a career came in 2013, when Seattle Symphony, picturesque tone painting of a desert under the direction of Ludovic Morlot, gave scene nor a musical narrative of a desert the first performances of Become Ocean, a journey. Nor does it offer vivid episodes, large orchestral piece it had commissioned. dramatic gestures or intimations of human The work attracted widespread notice tragedy, triumph or jest. Rather, it presents and garnered the a sonic environment in which to immerse composition in 2014. oneself. From the start, that environment With the success of Become Ocean, Seattle is enveloped by sustained tones, played Symphony commissioned Adams to write by the onstage string section, that expand another composition, one that turns out to be from a single pitch to form open, widely a companion piece of sorts. This commission, spaced chords, a luminous wash of sound which the New York Philharmonic and San at volumes that range from quiet to barely Diego Symphony Orchestra have joined in audible. Gradually the other ensembles tendering, coincided with a major alteration join in, altering and enriching the sonic hue, in the composer’s circumstances. Since the much as daylight changes with the rising 1970s Adams had lived in Alaska, whose position of the sun. No less gradually, the landscape and weather provided a frequent music expands in volume and harmonic source of inspiration for his music. But complexion, becoming a dense roar midway having entered his seventh decade, he felt through its 40-minute duration. Then, in near- ready for a change. Accordingly, he left his palindromic fashion, it reverses direction, adopted home state and now divides his time slowly thinning and subsiding until it reaches between New York and the Sonoran desert of the single tone on which it began. northwest Mexico. Clearly, such music requires a different kind The latter location inspired his second of attention than that we usually bring to the composition written for Seattle Symphony. concert hall. A hint as to what this might be “I used to say that if I ever left the tundra it lies in a short poem by the Mexican writer would be for the desert,” Adams observes. Octavio Paz, which Adams has inscribed as a “Now, some 40 years after first coming preface to the score of Become Desert. One to Alaska, I’ve finally made that move. line reads, in English translation: “Close your As I’ve begun to learn the landforms, the eyes and listen to the singing of the light.” light, the weather, the plants and the birds, Scored for 5 separate ensembles: Choir I – 4 flutes; I’ve dreamed of music that echoes this 4 oboes; 4 clarinets; 4 bassoons; . Choir II – extraordinary landscape.” The music thus 8 horns; chimes. Choir III – 4 trumpets; 4 trombones; chimes. Choir IV – mixed chorus; handbells. dreamed is Become Desert, which receives Choir V – percussion; 4 harps; strings. its premiere here this week. © 2018 Paul Schiavo Though sonically quite different from the earlier work, Become Desert shares two

46 SEATTLESYMPHONY.ORG OVERVIEW FRIDAY, MARCH 30, 2018, AT 12 NOON

BEETHOVEN The Benefit of Hindsight In 1952, the maverick conductor and EMPEROR CONCERTO musicologist Nicholas Slonimsky published an anthology of music criticism titled Lexicon of Musical Invective. The volume consists entirely of contemporary reviews Ludovic Morlot, conductor savaging compositions now regarded as Jeremy Denk, piano masterworks. For example, the first New York performance of Brahms’ majestic Seattle Symphony Fourth Symphony provoked one reviewer to conclude that “Brahms evidently lacks LUDWIG VAN BEETHOVEN Piano Concerto No. 5 in E-flat major, 38’ the breadth and power of invention Op. 73, “Emperor” eminently necessary for the production of a Allegro truly great symphonic work.” Adagio un poco mosso— Rondo: Allegro The two pieces on the program for our JEREMY DENK, PIANO concert also were misapprehended at various times in the past. Beethoven’s INTERMISSION “Emperor” Concerto, which today is all but JEAN SIBELIUS Symphony No. 2 in D major, Op. 43 44’ universally admired, evidently eluded most Allegretto listeners who heard its initial performance Tempo andante, ma rubato in Vienna, where it was written and where Vivacissimo— a sophisticated audience was supposed to Finale: Allegro moderato exist. (A review noted scant applause on that occasion.) Like many of Beethoven’s major works, it was long considered impenetrably complex. Sibelius’ Second Program notes for Beethoven’s Piano Concerto No. 5 in E-flat major, Op. 73, Symphony also received scathing criticism. “Emperor” may be found on page 44 and program notes for Sibelius’ Symphony The composer Virgil Thomson, writing No. 2 in D major, Op. 43 may be found on page 42. in his capacity as critic for the New York Herald Tribune, condemned the work See Jeremy Denk’s biography on page 46. as “vulgar, self-indulgent and provincial beyond all description.” Jeremy Denk’s performances are generously underwritten by Dr. Susan Detweiler, in memory of Dr. Alexander Clowes, through the Seattle Symphony’s Guest Artists Circle. Those who attend and enjoy classical music are fortunate in its centuries-long history. These afford us the benefit of hindsight, of perspective that comes with repeated performances and unbroken traditions. The process of sifting through the work of composers to find gold among the dross can be daunting (though also exhilarating). Yet the reward is the accumulation of, and acquaintance with, a body of great music that speaks to generations of listeners, the kind of music we hear this afternoon.

© 2018 Paul Schiavo

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 ©2018 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.

encoremediagroup.com/programs 47 PROGRAM NOTES FRIDAY, MARCH 30, 2018, AT 8PM

Bedřich Smetana (1824­–1884), born in a small Bohemian castle town, came into BEETHOVEN his own as a composer at a time when his country was pushing back against Austrian & KANCHELI political and cultural influence. He devoted CHAMBER SERIES himself to studying Czech (having grown up speaking and writing mainly in German), and his Czech-language operas helped Jeremy Denk, piano | Elisa Barston, violin | Brittany Boulding Breeden, violin bolster a new theater scene in Prague. Simon James, violin | Mae Lin, violin | Mikhail Shmidt, violin Even the sudden loss of his hearing in 1874 did not halt Smetana’s drive to establish a Susan Gulkis Assadi, viola | Mara Gearman, viola | Sayaka Kokubo, viola Czech musical legacy; he still assembled Meeka Quan DiLorenzo, cello | Walter Gray, cello | Eric Han, cello a monumental collection of symphonic poems in honor of his homeland, and he BEDŘICH SMETANA String Quartet No. 1 in E minor, “From My Life” 28’ added three more operas before he died Allegro vivo appassionato a national hero in 1884. Allegro moderato à la Polka Largo sostenuto Smetana wrote very little chamber music, Vivace even though he had played violin in a string quartet in his youth. Returning to ELISA BARSTON, VIOLIN chamber music in 1876 after a 20‑year MIKHAIL SHMIDT, VIOLIN gap, his String Quartet No. 1 in E minor, MARA GEARMAN, VIOLA “From My Life” took shape as an WALTER GRAY, CELLO unprecedented musical autobiography. “The first movement depicts my youthful GIYA KANCHELI Piano Quartet In l’istesso tempo 20’ leanings toward art, the Romantic MIKHAIL SHMIDT, VIOLIN atmosphere, the inexpressible yearning SUSAN GULKIS ASSADI, VIOLA for something I could neither express nor define, and also a kind of warning of MEEKA QUAN DILORENZO, CELLO my future,” Smetana explained in a letter JEREMY DENK, PIANO he sent to a friend in 1878. The viola INTERMISSION delivers a full-throated first statement of the impassioned primary theme. ALFRED SCHNITTKE Violin Sonata No. 1 20’ Andante Instead of a typical scherzo, the second Allegretto movement mimics the style of a polka. For Largo Smetana, “this music brings to my mind Allegro scherzando—Largo the joyful days of youth when I composed SIMON JAMES, VIOLIN dance tunes and was known everywhere as a passionate lover of dancing.” The JEREMY DENK, PIANO Largo sostenuto slow movement, he wrote, “reminds me of the happiness of LUDWIG VAN BEETHOVEN String Quartet No. 4 in C minor, Op. 18 23’ my first love, the girl who later became my Allegro ma non tanto first wife.” Andante scherzoso quasi allegretto Menuetto: Allegretto Lively textures redolent of folk music Allegro and shuddering memories of the first BRITTANY BOULDING BREEDEN, VIOLIN movement’s main theme stand out in a MAE LIN, VIOLIN finale that, in Smetana’s words, “describes the discovery that I could treat national SAYAKA KOKUBO, VIOLA elements in music, and my joy in following ERIC HAN, CELLO this path until it was checked by the catastrophe of the onset of my deafness, Musicians’ biographies may be found at seattlesymphony.org. the outlook into the sad future, the tiny rays of hope of recovery; but remembering all the promise of my early career, nonetheless a feeling of painful regret.”

Please note that the timings provided for this concert are approximate. Giya Kancheli (b. 1935) comes from the Please turn off all electronic devices and refrain from taking photos or video. former Soviet republic of Georgia, a Performance ©2018 Seattle Symphony. Copying of any performance by camera, audio or video recording territory wedged between Russia and equipment, and any other use of such copying devices during a performance is prohibited. Turkey along the Black Sea, and a site that has suffered wave after wave of political, religious and economic turmoil.

48 SEATTLESYMPHONY.ORG PROGRAM NOTES

He left in 1991 and eventually settled in the most dangerous phenomenon wherein Beethoven channeled his most Belgium, but his music has never lost — the feeling of indifference.” inflamed passions into music in the key touch with the collective suffering in and of C minor — most famously in the Fifth beyond his homeland. The Russian composer Alfred Schnittke Symphony that came a decade later. That (1934–98) received his earliest musical turbulent mood is evident from the start Kancheli dedicated his piano quartet, In training in Vienna, while his father served of the quartet’s first movement, especially l’istesso Tempo, to his first music teacher. there as a translator. He went on to study when brutal fortissimo chords interrupt the The title is itself a musical term (Italian for at the Moscow Conservatory in the 1950s, first violin’s singing melody. “In the same tempo”), which signifies that but Schnittke chafed against Soviet dogma the underlying pulse should remain steady and musical rule-following in general. In place of a slow movement, rather even if the time signature or metric units Over the next decades, he honed a quick and playful music arrives in a change. Except for a few pauses and one “polystylistic” sound that borrowed freely tempo marked Andante scherzoso quasi poignant slowdown near the end, this from music of just about any style and allegretto (At a walking pace, jokingly, meditative score maintains an unyielding era, from the holiest church music to the almost a little fast). The third movement pulse of 50 beats per minute. bawdiest songs. also takes a lively approach, placing jolting accents on the third beat of the minuet’s Schnittke composed the Violin Sonata This deeply personal score returns to three-beat pulse. No. 1 in 1963 for Mark Lubotsky, a Seattle nearly 20 years after its world classmate from the Moscow Conservatory premiere here by the Bridge Ensemble, The rondo finale incorporates the type of who had recently premiered Schnittke’s a performance that featured the Seattle rustic, Hungarian-influenced themes that First Violin Concerto. Schnittke’s trust Symphony’s own Mikhail Shmidt, who once Haydn so enjoyed. Instead of resolving the and affection for the virtuoso violinist is again takes the violin part. That premiere tension with a major-key ending as Haydn self-evident in a part full of double-stops, also featured David Tonkonogui, a co- might have, Beethoven preserved the chords, artificial harmonics and other founder of the Bridge Ensemble and a C-minor tonality all the way through a wild, technical feats. The other overarching Seattle Symphony cellist who has been accelerated ending. factor in this sonata is the application of sorely missed since his death in 2003. serial techniques (otherwise known as © 2018 Aaron Grad “twelve-tone” composition) patterned after Kancheli’s program note for the Schoenberg and his Viennese disciples. It Seattle debut in 1998 is all the more may seem out of step for a perpetual rule- meaningful today: breaker such as Schnittke to experiment with a technique built on the strict ordering “Again and again, with deep regret, we see of pitches, but it was actually quite a how alongside obvious achievements of rebellious act for a young Soviet composer the civilized world, our planet is being torn to try on a forbidden style that was just apart by bloodshed and antagonisms. And starting to filter in from the West. Lest you no creative deed is able to withstand that think that serial music is cold and joyless, destructive force, which so easily strikes just wait for the sonata’s playful finale, out the fragile means of progress. which sounds a whole lot like a trippy, atonal rendition of “La cucaracha.” “Taking very close to my heart all that is happening around me, I am trying to While Ludwig van Beethoven (1770– express in my music the state I feel in my 1827) established himself as a freelance soul, writing basically for myself, without pianist and composer in Vienna, he contriving any illusions that, as Dostoyevsky shied away from the two genres most said, ‘Beauty will save the world.’ closely associated with his onetime teacher, Joseph Haydn. Beethoven finally “This is where my music is more sad tackled string quartets with a set of six than happy, and is addressed more to completed between 1798 and 1800, and the lone individual, rather than to society. he completed a symphony in 1800 as well. Here you won’t find appeals for striving, These breakthrough scores helped to equality, or ‘a bright future.’ Most likely, unlock the mature, independent style that you will find threads of sorrow caused allowed Beethoven to eclipse even the by the imperfection of the world which mighty Haydn. keeps disregarding the most horrendous examples from human history. Of the six initial quartets, only the String Quartet No. 4 in C minor, Op. 18 was “My thoughts are expressed in an constructed in a minor key, continuing extremely simple musical language. Beethoven’s fascination with that particular And I hope that the audience in Seattle tonality that had already manifested in will be affected by my composition, two recent piano sonatas and a string trio. written for the Bridge Ensemble, These experimental compositions chafed and will not mistake my deliberate against the pleasant stereotypes of salon simplicity for what, in my opinion, is music, and they established a tradition

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PRINCIPAL BENEFACTORS PRINCIPAL MUSICIANS CIRCLE Peter Russo and Kit Bakke 5 The Seattle Symphony acknowledges with gratitude The following donors have generously underwritten Sherry and Larry Benaroya ° 5 the following donors who have made lifetime the appearances of principal musicians this season. Paula Boggs and Randee Fox ° commitments of more than $1 million as of Clise Properties, Inc. January 23, 2018. Thomas and Susan Bohn Dr. Susan Detweiler and Dr. Alexander Clowes* ° 15 Sue and Robert Collett William O. and K. Carole Ellison Foundation 4Culture John Delo and Elizabeth Stokes Katharyn Alvord Gerlich 15 Dr.* and Mrs.* Ellsworth C. Alvord, Jr. Patricia and Jon Rosen Betty Graham 5 Andrew W. Mellon Foundation Anonymous Dr. Martin L. 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Kotoku and Sumiko Kurachi 5 Dustin and Michelle Ingalls 10 Carrie Delaney Rhodes Tatyana Kutsy Karen Koon 10 Bernice Mossafer Rind ^ Steve Kutz and Courtney Womack ° 10 Eva and Jon LaFollette 10 15 Jonathan and Elizabeth Roberts Afshan Lakha Stacey and Dan Levitan Mike and Marcia Rodgers Eugene and Martha Lee Corrinne Martin The Faye and Herman Sarkowsky Charitable Foundation Steve Lewis 15 Bob and Annette Parks 5 Suzanne and Walter Scott Foundation Mark Linsey and Janis Traven Michael Slonski and Jennifer Wilson ° 10 Noreen and Kabir Shahani Richard* and Beverly Luce 15 Michel and Christine Suignard Jan and Peter Shapiro Bryan Lung 5 Kirsten and Bayan Towfiq 5 Yuka Shimizu Michael and Barbara Malone 5 Hans and Joan* van der Velden 15 15 Frank and Harriet* Shrontz Mary Ann and Ted Mandelkorn Anonymous Klara and Larry Silverstein Judsen Marquardt and Constance Niva 5 Megan and Mike Slade Ken and Robin Martin ^ Silver ($5,000 - $7,499) 15 Buz and Helen Smith David Mattson 5 Jim and Catherine Allchin 15 Ms. Barbara Snapp and Dr. Phillip Chapman Bill and Colleen McAleer 15 15 Terry Allen John and Sherry Stilin Brooke and Dre McKinney-Ratliff Inessa and Eric Anderson Cynthia Stroum Joy McNichols 15

encoremediagroup.com/programs 51 SEATTLE SYMPHONY DONORS

Justine and John Milberg 5 Terrill and Jennifer Hendrickson 5 Jessie and David Woolley-Wilson Laina and Egon Molbak 15 Gabriel and Raluca Hera Jerry and Nancy Worsham 10 Eric Noreen and Suzi Hill 5 Harold and Mary Fran Hill 10 Sally and David Wright Lourdes M. Orive Alice and Paul Hill Kay H. Zatine 15 Brian Pao and Susan Leu Candyce Hogan 5 Christian and Joyce Zobel 10 Chip Ragen Bob and Melinda Hord 5 Igor Zverev 15 Jason Reuer 5 Nyssa Houzenga Anonymous (13) E. Paul and Gayle Robbins 5 Patricia Hunter Richard and Bonnie Robbins Walt Ingram, Wright Runstad & Company Musicians Club ($1,000 - $1,999) 10 Chuck and Annette Robinson Margaret and Frank Isernio Jennifer and Kurt Adair + John Robinson and Maya Sonenberg 15 Mr. Daniel Kerlee and Mrs. Carol Wollenberg 10 Nance and Steve Adler ∞ 5 James T. and Barbara Russell Stacy and Doug King Peter Aiau and Susan Ormbrek ∞ 5 5 Dr. and Mrs. Werner E. Samson ∞ Karen and Peter Klacsmann Robert and Ali Alexander 5 5 Susan Schroeter-Stokes and Robert Stokes W. M. Kleinenbroich Daniel Alexander II Jeffrey C. Sherman Dr. and Mrs. Masato Koreeda Susan Allan and Keylor Eng 15 Evelyn Simpson Stewart M. Landefeld and Margaret Breen Mr. and Mrs. John Amaya 5 Nepier Smith and Joan Affleck-Smith Mary and Michael Lee Dr. Bruce and Joann Amundson 15 Margaret W. Spangler Kori Loomis Adaline Ancinas 15 10 Sonia Spear Ruthann Lorentzen Eddy and Osvaldo Ancinas Craig and Sheila Sternberg Fo-Ching Lu and Andrew Roberts Rick Anderson and Marianne Bergstrom 5 Esther M. Su ∞ Gunilla and Vidur Luthra Patrick Andre 5 5 15 Ronald and Pamela Taylor ∞ Mark P. Lutz Richard and Dianne Arensberg 10 Jean Baur Viereck Susan Marinello Jesus Areyano II 5 5 Steve Vitalich Malcolm and Diane McCallum Dr. Sharon and Vince Augenstein 5 5 M. Elizabeth Warren Ashley O’Connor McCready and Mike McCready Larry Harris and Betty Azar 15 5 5 Bryna Webber and Dr. Richard Tompkins Anne McDuffie and Tim Wood Michele and Charles Bacon 5 5 Judith A. Whetzel Christine B. Mead Wael Bahaa-El-Din and Amira El Bastawissi 5 5 Wayne Wisehart Ronald Miller and Murl Barker Dr. and Mrs. John Baldwin 15 Jeff Wood and Diane Summerhays Drs. Pamela and Donald Mitchell Dr. and Mrs. Terrence J. Ball 5 5 5 Keith Yedlin Gary Moresky Richard Barbieri and Lyn Tangen 5 Robert and Eileen Zube Dylan Neuwirth Joel Barduson 5 5 Anonymous (2) Marilyn Newland Cornelius Barnett 5 5 Isabella and Lev Novik Eric and Sally Barnum 10 Conductors Club ($2,000 - $3,499) Arwa and Mohammed Obeidat Michael Barras Bill and Janette Adamucci 5 Kathryn and John O’Brien Susan L. Barry 5 15 Harriet and Dan Alexander 5 Jerald E. Olson Amie Batson Mrs. Jackie A. O’Neil 5 Drs. Linda and Arthur Anderson ∞ 5 Douglas and Maria Bayer 15 Carlton and Grace Anderson 5 Mary Pat and John Osterhaus Silas Beane and Kristin Bunce Dr. Larry and DeAnne Baer Gerald and Melissa Overbeck Michael and Stephanie Beers 5 Charlie Barbour and Diana Lynn Kruis 5 PAS Financial Planning Carl and Renée Behnke Kris Barker Path Forward Leadership Development Karin M. Weekly and Bryan H. Bell 15 Jane and Peter Barrett 5 Allan and Jane Paulson Patricia Bell 15 Patty and Jimmy Barrier David F. Peck Patricia Benca Capt. and Mrs. Paul Bloch 10 Jason Perkizas Joyce and Alan Bender 15 Hal and Anne Bomgardner 5 Nancy and Christopher Perks Judith and Arnold Bendich 5 William and Beatrice Booth Marcus Phung Matthew and Nealan Blinstrub Bob and Bobbi Bridge 5 Cary Plotkin and Marie-Therese Brincard Marilyn Braarud Alexandra Brookshire and Bert Green ^ Louis Poulin Bob* and Jane Ann Bradbury 10 Claire and Aaron Burnett Aimme Qiao Ann L. Brand Frank and Phyllis Byrdwell ^ Julie Ratner Rosemary and Kent Brauninger 5 15 Janitta and Bob Carithers Ed and Marjorie Ringness Herb Bridge and Edie Hilliard 15 Vicente Cartas Espinel Nancy M. Robinson S. Lori Brown 5 Cecily Carver Braxton E. Rowe ∞ Dr. Margaret Burke Jonathan Caves and Patricia Blaise-Caves 5 Annie and Ian Sale Lisa Bury and John R. Taylor Patrick Chinn and Angela Redman Kate and Matthew Scher Cy and Kathleen Butler 15 Jeffrey Christianson Eckhard Schipull Mary and Patrick Callan Gakyung Chung Harry Schneider and Gail Runnfeldt Karen Cameron 5 Dr. and Mrs. Jason Schneier 5 Robert E. Clapp ∞ 5 Corinne A. Campbell 5 Terese Clark Jo Ann Scott Elizabeth M. Campbell Mr. and Mrs. Ross Comer 10 Jeff and Kim Seely Wally and Sally Campbell Janet and Thomas Seery 10 Peter and Lori Constable ∞ Dr. Lysanne Cape 5 15 Jeffrey and Susan Cook 5 Barbara and Richard Shikiar Nora Capron Patricia Cooke Anne Shinoda-Mettler Sherry and Bruce Carbary T. W. Currie Family 10 Robin Siegl and Paul Andrews Louis Carbonneau and Agnes Mallet Tiffany and Scott Dale Douglas Smith and Stephanie Ellis-Smith Carol and John Austenfeld Charitable Trust 5 Cami and Ray Davis Mary Snapp and Spencer Frazer Trish Carpenter 5 Frank and Dolores Dean 15 Christopher Snow Patrick Cazeau 15 Jeff Dempsey Lorna Stern Terri Chan and Tony Dexter 5 Alexander and Jane Stevens 10 Renee Duprel ∞ + Kent and Barbara Chaplin 15 Dr. Lewis and Susan Edelheit Paula Stokes and John Sullivan Jorge Chavez 10 Paul and Kimberly Fisher Isabel and Herb Stusser Gerrie Cherry 5 Isabel Foster Carpenter Victoria Sutter Mr. James Chesnutt 5 Jane and Richard Gallagher 5 Mr. and Mrs. C. Rhea Thompson Chien-her Chin 5 15 Jean Gardner ^ 15 Betty Lou and Irwin* Treiger Lisa Chiou 5 Katarina and Jim Garner Manijeh Vail Michelle and Abhineet Chowdhary 5 Janice A. and Robert L. Gerth 15 Mary Lou and Dirk van Woerden Marian Christjaener 5 Carol B. Goddard 15 Maia and John Vechey John Clawson 5 Fred Goldstein and David Pitt Janna Viniko Mark Cockerill and Marie Kennedy Don and Liz Gresch 10 Charlie Wade + Michelle Codd 5 Kate and Ted Gunal Jan and Nancy Wanamaker Robert and Janet Coe 15 Lucia and Jeffrey Hagander 5 John and Fran Weiss Sam and Karen Coe 5 Ken* and Cathi Hatch ^ Norma Wells Ida Cole Roger and June Whitson Ken Hayashi ∞ 5 ∞ Ellen and Phil Collins 15 Anders and Liz Hejlsberg Ms. Bethany Winham Susan and Laurence Commeree 15

52 SEATTLESYMPHONY.ORG SEATTLE SYMPHONY DONORS

Mr. and Mrs. Frank Conlon Hannah and Sarah Kane Richard and Peggy Ostrander Priscilla and Theodore Tanase Ray Conner Peter Kelly Meg Owen 5 Chee Wei Tang Herb and Kathe Cook 5 Sean and Lisa Kelly 5 John Palo Bob and Mimi Terwilliger 10 Beryl and Nick Crossley Janet Wright Ketcham Foundation 5 David and Gina Pankowski 5 John and Eleanor Toews Richard Cuthbert and Ford W. Kiene 10 Christopher Parker Peter Chuang and Elaine Tsai 5 Cheryl Redd-Cuthbert Dibra and Kent Kildow Richard and Sally Parks 5 Kenneth Tschritter Dr. Kevin Thomas Damour Mike and Mary Killien 15 Margaret Paul and Paul J. Johansen 15 Dr. and Mrs. H. B. Tukey 15 Lloyd G. Danku Karol King 5 Mary and Kerry Person Lorna Tumwebaze Robert Darling 5 Virginia King 5 Perspectives of New Music Dolores Uhlman 15 Tom DeBoer Carolyn and Robert Kitchell Lisa Peters and James Hattori Sami Uotila and Tuula Rytila Karin Desantis Alana Knaster Rosemary Peterson Janice and Neill Urano David and Helen Dichek Peter and Susan Knutson Don and Sue Phillips 5 Mr. Leo van Dorp 5 Anthony DiRe Vera Koch Derek and Anna Pierce Jan van Horn ∞ Dwight and Susan Dively 5 Maryann and Tom Kofler Valerie and Stanley Piha Gretchen Van Meter 15 Everett and Bernie DuBois 10 Sarah Kohut Andrey Popov Johanna P. VanStempvoort ∞ 15 Ken Duncan and Tanya Parish 5 Jodi Krause Ruth Ann and Jim Powers Karoline Vass Charlie Dunn Norbert and Kimberly Kusters Lori and Bill Price Tara and John Verburg Maria Durham and Viva la Música Club 15 Eric Lam 5 Jo-Anne D. Priebe Donald J. Verfurth 5 Jeff Eby and Zart Dombourian-Eby  5 Aidan Lang and Linda Kitchen Alexander Prior Doug* and Maggie Walker 10 Mr. Scott Eby ∞ 5 Ron and Carolyn Langford 15 Llewelyn G. and Joan Ashby Pritchard ^ 15 Stephanie Wallach Branndon R. Edwards Peter M. Lara 15 Harry* and Ann Pryde Connie Wang and Zachary Pollack Bill and Erin Ellis 5 J&J Latino O’Connell Ann Ramsay-Jenkins Lois Waplington Leo and Marcia Engstrom 5 Timothy Lee Paul and Bonnie Ramsey Debra Ward ∞ Mr. David Epstein Virginia and Brian Lenker ∞ 15 Mary C. Ransdell and Keith B. Wong Judith F. Warshal and Wade Sowers Luis Espinosa Derek Leung 5 Wendy and Murray Raskind 10 John Watson 5 Dr. and Mrs. R. Blair Evans 10 Phyllis Leventhal Christopher and Lila Rayl Jonathan Weintraub Kim and Scott Fancher Don and Carla Lewis 5 Reverend Kerry and Robin Reese 10 Greg Wetzel 5 Karen and Bill Feldt 5 Jerry and Marguerite Lewis Cecilia Paul and Harry Reinert 10 Charles Wheeler Junko and Glen Ferguson Henry Li Kristi Rennebohm-Franz ∞ Amy and Jeff Wilcox Maria Ferrer Murdock Bobbie Lindsay and Douglas Buck Jean A. Rhodes 5 Mitch Wilk 5 Lori and Miguel Ferrer* Michael Linenberger and Sallie Dacey Valerie Rice Elizabeth and Troy Wormsbecker Helga Filler Robert and Monique Lipman Fred Richard 15 Carol Wright Jerry and Gunilla Finrow 15 Anne and Steve Lipner John Richardson II 5 Talia Silveri Wright Marilyn First Anamaria T. Lloyd Jennifer Ridewood Michael and Gail Yanney Ashley Myers and Andrew Fitz Gibbon Sharon and Marty Lott Mr. and Mrs. Charles Riley 5 Mindy Yardy Patty Fleischmann Lovett-Rolfe Family Trust Deborah and Andrew Rimkus 5 Lee and Barbara Yates 15 Shari and Michael Fleming Mr. and Mrs. Louis Lundquist 5 Melissa Rivello Mr. Rocky Yeh Debra and Dennis Floyd Sandy Mackie Melissa and Manuel Rivelo Anonymous (28) Jack and Jan Forrest 5 Rebecca and Laird Malamed Dr. and Mrs. Tom Robertson 5 Steve Francks Rhonda Maloney ∞ 10 David Robinson 5 5 years of consecutive giving Judith Frank Elliot Margul 5 Ms. Jean C. Robinson 5 10 10 years of consecutive giving Ms. Janet Freeman-Daily 15 Mark Litt Family DAF of the Jewish Eric Robison 15 15 years or more of consecutive giving Donald and Ann Frothingham Federation of Greater Seattle 5 Jack Rodman and Koh Shimizu ∞ Monthly Sustaining Donor Terri and Joseph Gaffney 5 Charles T. Massie ∞ 15 Dina Rohm  Musician Jacob Garcia Lois Mayers Stan and Michele Rosen ° Board Member Rosemary Gee Florence and Charlie Mayne Dr. Len and Gretchen Jane Rosoff 5 ^ Lifetime Director Martin and Ann Gelfand Michael and Rosemary Mayo 15 Helen and Ivan Rouzanov 5 + Staff Ruth and Bill* Gerberding ^ 5 Jennifer McCausland Michelle and Jerry Rubin * In Memoriam James and Carol Gillick ^ 10 John and Gwen McCaw Don and Toni Rupchock 15 George Gilman 5 John McGarry and Michelle Wernli David Sabee and Patricia Isacson Sabee  To our entire donor family, thank you for Lester E. Goldstein 10 Diane and Scott McGee Sarah and Shahram Salemy your support. You make our mission and Bill and Joy Goodenough 15 Heather and Mike McKay Matthew Salisbury music a reality. Catherine B. (Kit) Green 10 Karen and Rick McMichael ∞ 15 John and Margaret Sanders Maridee Gregory ∞ 5 Dr. and Mrs. James F. McNab Sara Delano Redmond Fund Did you see an error? Help us Julie Gulick Mary McWilliams 10 Thomas and Collette Schick update our records by contacting Robert Grey and Kathryn Guykema 5 Jerry Meharg Art Schneider and Kim Street 5 [email protected] or Patricia Hackett and Mark Houtchens David Meinert Judith Schoenecker and 206.215.4832. Thank you! Megan Hall and James Janning ∞ + 5 Mary Mikkelsen 15 Christopher L. Myers 10 Deena C. Hanke ∞ Dr. Stewart Miller Patrick and Dianne Schultheis HONORARIUM GIFTS 5 Dave and Sandy Hanower Laurie Minsk and Jerry Dunietz Nancy and James Schultz + Gifts to the Seattle Symphony are a 15 15 Linda and Wolfram Hansis Chie Mitsui ∞ Janet Sears ∞ wonderful way to celebrate a birthday, 5 15 Dr. and Mrs. James M. Hanson Charles Montange and Virginia Senear honor a friend or note an anniversary. 15 5 Karin and Frederic Harder Kathleen Patterson Dr. Anita Shaffer In addition to recognition in the Encore 15 5 Walter Harley and Anne Sustar James Monteith and Marita Caya Julie Shankland program, your honoree will receive a card Racha and Wassef Haroun Alex and Nayla Morcos Julie and Don Shaw from the Symphony acknowledging your 15 Doug and Barbara Herrington Mary and Alan Morgan Linda Sheely ∞ thoughtful gift. Kate Harris and Andrew Jones Christine B. Moss 15 Charles Shipley 15 15 Mary Heckman Kevin Murphy Jon and Kim Shirley Gifts were made to the Seattle Stuart and Evelyn Henderson Marcia Murray Todd Shively and Christopher Woods Symphony in recognition of those listed 5 15 15 Toni and Rod Hoffman Mr. and Mrs. J. P. Naughton Dr. Charles Simrell and Deborah Giles below between January 1, 2017 and 5 5 Norm Hollingshead Paul Neal and Steven Hamilton ∞ Jill Singh January 23, 2018. Please contact Donor 5 5 Bob Holtz and Cricket Morgan Kirsten Nesholm Randip Singh Relations at 206.215.4832 or Hannah Hoose Mark Nickerson Connie Smith [email protected] if you 5 5 5 Mr. Roy Hughes ∞ Paul and Linda Niebanck Stephen and Susan Smith would like to recognize someone in a George and Peggy Hunt 5 Linda Nordberg Michele Souligny ∞ future edition of Encore. Michael Hunter Ken and Pearl Noreen Fawn and Jim Spady 5 Joyce and Craig Jackson Lise Obeling Kathleen and Robert Spitzer 1201 Third Avenue Parking Garage, by 15 5 Ralph E. Jackson Rena and Kevin O’Brien Doug and Katie Sprugel Charles Montange and 5 Randall Jahren Mary Odermat Stella Stamenova Kathleen Patterson Clyde and Sandra Johnson 10 Douglas and Alida Oles Steve and Sandy Hill Family Fund at the 15 Dr. Kari Jones Mr. and Mrs. Thomas Olson Seattle Foundation ^ Bob Ash, by 5 Shreya Joseph Gordon Orians Diane Stevens Jeff Eby and Zart Dombourian-Eby 5 Gretchen Kah Leo Ortiz and Adriana Aguirre Ton Swan and Kayley Runstad Swan Sue and Thomas Raschella Shirley Kah Thomas and Cynthia Ostermann 10 David Tan and Sherilyn Anderson-Tan

encoremediagroup.com/programs 53 SEATTLE SYMPHONY DONORS

Susan and Armin Baumgartel, by Mary Henderson, by MEMORIAL GIFTS David Howe, by Zanne and Ian Gerrard Linda Werner Gifts were made to the Seattle Symphony Mary Howe Erica Peterson to remember those listed below between Richard Howe Mr. and Mrs. Glen Hiner, by January 1, 2017 and January 23, 2018. For Bill Beery, by Eugene Leibowitz information on remembering a friend or Jane Qualia Madeline Beery loved one through a memorial gift, please Christopher Weeks The Horn Section, by contact Donor Relations at 206.215.4832 Steve Bush and Christine Chang, by Carl de Marcken and Marina Meila or [email protected]. Gretchen Hull, by Clarius Group Anonymous Virginia Hunt-Luce, by Nancy Alvord, by Susan Kane, by T.J. Callahan, by Thomas Luce Laurel and John Nesholm Tim Callahan Hannah and Sarah Kane Linda Jones, by Joseph and Carol Andrews, by Milton Katims, by The Cello Section, by Rochelle Morrissey Robin and Zev Siegl Pamela and Patrick Steele Betty Graham Jean and Roger Leed, by Rose and Richard Bender, by Laurence Lang, by Dale and Leslie Chihuly, by John Burg Alan Cordova Rosalie Lang April and René Ancinas Beatrice and Arlene Berlin, by Brookshire Green Foundation Pierre and Felice Loebel, by Isaac Michael Levin, by Janice Berlin Susan Brotman Marilyn Layton Sophie-Shifra Gold Liz Chambers and Jim Johnson Constance and Larry Martin Grandma Bosma, by Highland Street Foundation Richard Lundquist, by Andrew Emory Marks Family Foundation Marcia Mason, by Jinja Yutzy Linda and Gerald Nordberg Kathleen and Eric Ottum Bob Bradbury, by Jane and Joel Scott Kenneth A. Moore Jr., by Jane Ann Bradbury Linda Stevens Reid and Marilyn Morgan, by Renate and David Stage LouAnne Shelton Barbara and Donald Tober Ilene and Elwood Hertzog Melvyn Poll, by Richard M. Campbell, by Elaine Cho, by Ludovic Morlot, by Friends of Abbott Construction Alison Andrews Samuel Plott Martine and Dan Drackett Janet Abrams Joyce Franich Asma Ahmed Eugene and Sue John Terry Clark, by Laurel Nesholm, by Ash Family Foundation Edna Kelso Lara Clark Moya Vazquez Larry and Sherry Benaroya Janet Ketcham, in honor of Maureen and Joel Benoliel Music Beyond Borders Samuel Clarke, by Llewelyn Pritchard, by Lisa Bergman Mary Langholz David Gaglione Carol and Thomas Olson Carolyn Burnett Debra and Gary Larson Pat and Jon Rosen Everyone at Cactus Restaurant Erika Lim Marianne Cole, by Barbara Calvo and Al Benoliel John Marshall Mitzi Cieslak W. David Rambo, by Dale and Leslie Chihuly Llewelyn and Jonie Pritchard Trenton Rambo Joan and Frank Conlon Randy Robinson and Jane Hadley Rosalie Contreras, by Maryann Crissey Fred Simons Robert Haeger Stella Rolph, by Sandra and Gary Etlinger Carole Tingstad Simone Spiess Timotha and Charles Freedenberg Dr. David Davis, by Arthur Caputi, Jr., by Sharon Friel Carissa Hussong Pat Rosen, by Marti Caputi Marlene and Jon Fuson Mina Miller and David Sabritt Laurie Griffith Samantha DeLuna and Jesse Bearden, by Kathryn G. Cavin, by Jane Hargraft and Elly Winer Jennifer Lee Norman and Elisabeth Sandler, by James Cavin David and Sharron Hartman Jordan Louie Stephanie and Michael Beers Delney and Andrew Hilen Brandon Patoc Frederic Chopin, by Ned and Kristen Lumpkin Virgina Senear, by Xiaoxia Zhou Carolee and Tom Mathers Dr. Geoffrey Deschenes and Kelly Schmidt Marilyn McManus Dr. Meredith Broderick, by Kent Coleman, by Stewart Miller Kathleen Deschenes T.E. and Peggy Spencer, by Jan Coleman Linda Nordberg John and Nancy McConnell Jack Norman Raemarie Duclos, by Charles Crane, by Patricia Oye Francis Powers* Rachel Swerdlow, Walter Gray, and Muriel Martin William Poll Paul Rafanelli, by Ann Pryde Maria Durham and Viva la Música Club, by Mark Linsey and Janis Traven Jane Davis, by Pat and Jon Rosen Angela Henrick Janice and Neill Urano Clodagh and Robert Ash Milicent Savage Norm Hollingshead Laurel and John Nesholm SRG Partnership, Inc Gloria Ortiz and Pedro Trujillo Donald Thulean, by Llewelyn and Jonie Pritchard Carlyn Steiner Jorge E. Restrepo Gerard Fischer Leena and Mel Sturman Lucy J. Ding, by Nicolle Durham Rey Diane and Dennis Warshal Paula Ding Toshio Uno, by Wyman Youth Trust Steve Frank, by Anthony Uno Barbara and Jonathan Zweig Beulah Frankel, by Pat and Jon Rosen Ginny Gensler Ralph Wedgwood, by Frank Powers, by Richard Andler and Carole Rush Janice Gerth, by J. Mary and Alan Morgan Shirley H. Fuller, by Dr. Kennan H. Hollingsworth Robert Gerth Marise and Randy Person Stephen Whyte, by Isa Nelson Sam Glatstein, by Mark Schletty and Jan Laskey Barbara Bye Goesling, by Ruth Ann and Jim Powers Benjamin Glatstein Llewelyn and Jonie Pritchard Shawn Powers James and Mary Lou Wickwire, by Seattle Symphony Volunteers Nancy Paige Griffin, by Melissa and David Wickwire Allan Granquist, by Virginia Senear Michael Schick and Katherine Hanson Steven Lundholm Nancy Tracy Simon Woods, by David Haggerty, by Leslie and Dale Chihuly Martin Greenfield, by Elaine Raines, by Marc Stiles Nancy and Daniel Evans Pat and Jon Rosen Cindy Chang Dana and Ned Laird Linda and Randy Ebberson Lenore Hanauer, by Laurel and John Nesholm Sarah Hamilton, by Laurel Kalina Penelope Burke Llewelyn and Jonie Pritchard Barbara and Charles Jennings Sheila Lukehart Pat and Jon Rosen Karen and Randall Nelson Dr. James Hanson, by Mr. Anthony Uno Frederick Hayes, by Sheri Sharp Jeanette Hanson Sue and Robert Collett Katherine and Douglas Sprugel Carole Wilson

54 SEATTLESYMPHONY.ORG Jean Robbins, by Nancy Kyler SEATTLE SYMPHONY Alice Laitner Giovina Da Sessions ENDOWMENT FUND Carole Sanford, by Horizon House Supported Living The Seattle Symphony is grateful to the following donors who have made commitments of $25,000 or more to the Endowment Fund since its inception. The following list is current as of January 23, 2018. For information on Langdon Simmons, by endowment gifts and naming opportunities in Benaroya Hall, please contact Becky Kowals at 206.215.4852 or Llewelyn and Jonie Pritchard [email protected].

Donald Strong, by $5 Million + Sue and Robert Collett Mary Anne Strong Frances O. Delaney* The Benaroya Family John and Carmen* Delo Charles Simonyi Fund for Arts and Sciences Lois Timlin, by Estate of Lenore Ward Forbes Anonymous Margaret and Mark Van Gasken Estate of George A. Franz $1,000,000 - $4,999,999 Jean Gardner Kathleen Trier, by Estate of Mr. and Mrs. Irvin Gattiker Horizon House Supported Living Leslie and Dale Chihuly Anne Gould Hauberg* The Clowes Fund, Inc. Richard and Elizabeth Hedreen B. K. Walton, by Priscilla Bullitt Collins* Estate of William K. and Edith A. Holmes Penelope Yonge Judith A. Fong Estate of Susanne F. Hubbach The Ford Foundation John Graham Foundation Ralph Wedgewood, by Dave and Amy Fulton Mr. and Mrs. Stanley P. Jones Thomas Chatriand and Cindy Gustafson Kreielsheimer Foundation Estate of Betty L. Kupersmith Horizon House Supported Living Marks Family Foundation John and Cookie* Laughlin Jane Kippenhan Estate of Gladys and Sam Rubinstein E. Thomas McFarlan Michael Vargas Samuel* and Althea* Stroum Estate of Alice M. Muench Dr. Robert Wallace Nesholm Family Foundation Brian Weiss, by Estate of Opal J. Orr Sue Eriksen $500,000 - $999,999 M. C. Pigott Family Dina Jacobson Alex Walker III Charitable Lead Trust PONCHO Lars Sorensen Mrs. John M. Fluke, Sr.* Estate of Mrs. Marietta Priebe Douglas F. King Mr. and Mrs. Paul R. Smith Janice T. Whittaker, by Estate of Ann W. Lawrence Estate of Frankie L. Wakefield Jody Friday The Norcliffe Foundation Estate of Marion J. Waller Estate of Mark Charles Paben Washington Mutual ESTATE GIFTS James D. and Sherry L. Raisbeck Foundation Anonymous We gratefully remember the following individuals for Joan S. Watjen, in memory of Craig M. Watjen $25,000 - $49,999 their generosity and forethought, and for including the Seattle Symphony in their will, trust or beneficiary $100,000 - $499,999 Edward and Pam Avedisian designation. These legacy gifts provide vital support for Estate of Glenn H. Anderson Estate of Bernice Baker the Symphony now and for future generations. (Estate Andrew W. Mellon Foundation The Boeing Company gifts since September 1, 2015.) Bob and Clodagh Ash Estate of Ruth E. Burgess Drs. Janet P. and George* Beckmann Estate of Barbara and Lucile Calef Dr. William and Mrs. Laura Andrews Alan Benaroya Mrs. Maxwell Carlson Harriet C. Barrett Trust Estate of C. Keith Birkenfeld Alberta Corkery* Barbara and Lucile Calef Mrs. Rie Bloomfield* Norma Durst* Robert E. and Jeanne Campbell The Boeing Company Estate of Margret L. Dutton Charles Robb Chadwick C.E. Stuart Charitable Fund Estate of Floreen Eastman Phyllis B. Clark Richard* and Bridget Cooley Hugh S. Ferguson* Frances L. Condie Dr. Susan Detweiler and Dr. Alexander Clowes* Mrs. Paul Friedlander* Trudel Dean Mildred King Dunn Adele Golub Carmen Delo E. K. and Lillian F. Bishop Foundation Patty Hall Nancy Lee Dickerson Estate of Clairmont L. and Evelyn Egtvedt Thomas P. Harville Sherry Fisher Estate of Ruth S. Ellerbeck Harold Heath* Jane B. Folkrod Senator and Mrs. Daniel J. Evans George Heidorn and Margaret Rothschild* Lenore Ward Forbes Fluke Capital Management Phyllis and Bob* Henigson Marion O. Garrison Estate of Dr. Eloise R. Giblett Michael and Jeannie Herr Elizabeth C. Giblin Agnes Gund Charles E. Higbee, MD and Donald D. Benedict* Merle P. Griff and Nadine Griff Mack Helen* and Max* Gurvich Mr. and Mrs. L. R. Hornbeck Helen and Max Gurvich Estate of Mrs. James F. Hodges JNC Fund Carol Hahn-Oliver Estate of Ruth H. Hoffman Sonia Johnson* Sarah C. Hamilton Estate of Virginia Iverson The Keith and Kathleen Hallman Fund Allan and Nenette Harvey Estate of Peggy Anne Jacobsson David and Karen Kratter Yveline Harvey Robert C. Jenkins Estate of Marlin Dale Lehrman Anne Marie Haugen Estate of Charlotte M. Malone Estate of Coe and Dorothy Malone Susanne F. Hubbach Bruce and Jolene McCaw Estate of Jack W. McCoy Gretchen and Lyman Hull Bruce and Jeanne McNae Estate of Robert B. McNett Betty L. Kupersmith Microsoft Corporation Estate of Jean and Peter J. McTavish E. Marian Lackovich National Endowment for the Arts Estate of Shirley Callison Miner Anna L. Lawrence Northwest Foundation PACCAR Foundation Arlyne Loacker Estate of Helen A. Overton Mr. and Mrs. W. H. Purdy Olga M. McEwing Peach Foundation Estate of Elizabeth Parke Jean and Peter J. McTavish Estate of Elsbeth Pfeiffer Sue and Tom Raschella Norman D. Miller Estate of Elizabeth Richards Keith and Patricia Riffle Nuckols-Keefe Family Foundation Jon and Judy Runstad Rita* and Herb* Rosen and the Rosen Family Beatrice Olson Estate of Joanne M. Schumacher Seafirst Bank Carl A. Rotter Weyerhaeuser Company Security Pacific Bank John C. Rottler The William Randolph Hearst Foundations Jerry and Jody Schwarz Dorothy Faye Scholz Estate of Helen L. Yeakel Seattle Symphony Women’s Association Allen E. Senear Estate of Victoria Zablocki Patricia Tall-Takacs and Gary Takacs Amy Sidell Anonymous (3) U S WEST Communications Phillip Soth Estate of Dr. and Mrs. Wade Volwiler Dr. Joseph S. Spinola $50,000 - $99,999 Estate of Marion G. Weinthal Morton Stelling Estate of Ethel Wood Dr.* and Mrs.* Ellsworth C. Alvord, Jr. Samuel and Althea Stroum Anonymous (2) Estate of Mrs. Louis Brechemin Ida L. Warren Estate of Edward S. Brignall * In Memoriam

encoremediagroup.com/programs 55 MUSICAL LEGACY SOCIETY The Musical Legacy Society celebrates 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 included the Symphony in your long-term plans, please contact Director of Major Gifts and Planned Giving Becky Kowals at 206.215.4852 or [email protected]. The following list is current as of January 23, 2018.

Charles M. and Barbara Clanton Ackerman Ned Laird I GIVE BECAUSE ... Joan P. Algarin Paul Leach and Susan Winokur Kathleen Amberg Kathleen Leahy Richard Andler and Carole Rush Lu Leslan Ron Armstrong Marjorie J. Levar Elma Arndt Mel Longley and Tanya Wanchena-Longley Bob and Clodagh Ash Thomas and Virginia Hunt Luce Susan A. Austin Ted and Joan Lundberg Rosalee Ball Judsen Marquardt and Constance Niva David W. Barker Ian and Cilla Marriott Donna M. Barnes Doug and Joyce McCallum Carol Batchelder Tom McQuaid Drs. Janet P. and George* Beckmann William C. Messecar Alan Benaroya Jerry Meyer and Nina Zingale Rebecca Benaroya Charles N. Miller Donald/Sharon Bidwell Living Trust Elizabeth J. Miller Dona Biermann Mrs. Roger N. Miller I have Bob* and Jane Ann Bradbury Murl G. Barker and Ronald E. Miller Rosemary and Kent Brauninger Reid and Marilyn Morgan Sylvia and Steve Burges George Muldrow Dr. Simpson* and Dr. Margaret Burke Marr and Nancy Mullen enjoyed Dr. William and Mrs. Mary Ann Champion 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 the Seattle Frank and Dolores Dean Dick and Joyce Paul Robin Dearling and Gary Ackerman Jane and Allan Paulson Lorraine Del Prado and Thomas Donohue Lisa Peters and James Hattori John Delo Stuart N. Plumb Symphony Dr. Susan Detweiler and Dr. Alexander Clowes* Roger Presley and Leonard Pezzano Fred and Adele Drummond Mrs. Eileen Pratt Pringle Mildred King Dunn Mr. and Mrs. W. H. Purdy Renee Duprel James and Sherry Raisbeck for 15 years Sandra W. Dyer Dana Reid and Larry Hitchon Ann R. Eddy J. Stephen and Alice Reid David and Dorothy Fluke Bernice Mossafer Rind and want Gerald B. Folland Bill* and Charlene Roberts Judith A. Fong Junius Rochester Jack and Jan Forrest Jan Rogers Russell and Nancy Fosmire Patricia and Jon Rosen it to continue. Ernest and Elizabeth Scott Frankenberg James T. and Barbara Russell Cynthia L. Gallagher Mary Ann Sage Jane and Richard Gallagher Thomas H. Schacht Jean Gardner Judith Schoenecker and Christopher L. Myers Cheryl and Billy Geffon Annie and Leroy Searle Natalie Gendler Virginia and Allen* Senear Carol B. Goddard Leonard* and Patricia Shapiro Frances M. Golding Jan and Peter Shapiro – James Jeffrey Norman Golub John F. and Julia P.* Shaw Dr. and Mrs. Ulf and Inger Goranson Barbara and Richard Shikiar Betty Graham Valerie Newman Sils Catherine B. Green Evelyn Simpson Dr. Martin L. Greene Betty J. Smith Roger J.* and Carol* Hahn-Oliver Katherine K. Sodergren James and Darlene Halverson Althea C. and Orin H.* Soest Barbara Hannah Sonia Spear Harriet Harburn Karen J. Stay Ken and Cathi Hatch Diane Stevens Michele and Dan Heidt Patricia Tall-Takacs and Gary Takacs Ralph and Gail Hendrickson Gayle and Jack Thompson Deena J. Henkins Art and Louise Torgerson Charles E. Higbee, MD Betty Lou and Irwin* Treiger Harold and Mary Frances Hill Muriel Van Housen Bob Hoelzen and Marlene Botter Sharon Van Valin Frank and Katie Holland Jean Baur Viereck Dr. Kennan H. Hollingsworth Dr. Robert Wallace Chuck and Pat Holmes Nicholas A. Walls David and Shelley Hovind Jeffrey Ward and Charles Crain Richard and Roberta Hyman Judith Warshal and Wade Sowers Janet Aldrich Jacobs Douglas Weisfield WHY DO GIVE? Jennifer James, MD James and Janet Weisman YOU 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 SEATTLESYMPHONY.ORG/GIVE Dell King Ronald and Carolyn Woodard Douglas F. King Arlene A. Wright Stephen and Barbara Kratz Janet E. Wright 206.215.4832 Frances J. Kwapil Rick and Debbie Zajicek M. LaHaise Anonymous (52) * In Memoriam

56 SEATTLESYMPHONY.ORG CORPORATE & FOUNDATION SUPPORT

The Seattle Symphony gratefully recognizes the following corporations, foundations and united arts funds for their generous outright and In-Kind support at the following levels. This list includes donations to the Annual Fund and Event Sponsorships, and is current as of January 23, 2018. 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 Sheri and Les Biller Family Foundation Google Matching Gifts Ebay Classical KING FM 98.1 ◊ Virginia Mason Medical Center Heartwood Provisions † Educational Legacy Fund Geekwire † Wild Ginger Restaurant † The Lark Ascends † Eli Lilly & Company Foundation Google Inc. † MG2 Foundation Finlandia Foundation Seattle Chapter John Graham Foundation $10,000 - $14,999 Muckleshoot Indian Tribe Firestone Walker Brewing Company † KEXP † Aaron Copland Fund For Music Neiman Marcus Fox’s Seattle † Laird Norton Wealth Management The Benaroya Company Peg and Rick Young Foundation Genworth Foundation Microsoft Corporation Bill & Melinda Gates Foundation Puyallup Tribe Of Indians Grand Hyatt Hotel New York † Microsoft Matching Gifts Matching Gifts RBC Foundation Grousemont Foundation Nesholm Family Foundation BNY Mellon RN74 Seattle † Kane Environmental, Inc Precept Wine ◊ Coca-Cola Company Matching Gifts S. L. Pitts PC Kerloo Cellars † Seattle Met Magazine † Foster Pepper PLLC Silverstein Properties KeyBank Foundation Scan|Design Foundation Four Seasons Hotel † Skanska USA Lagunitas Brewing Company by Inger and Jens Bruun Fran’s Chocolates ◊ Starbucks Coffee Company LAUGH Studios † Garvey Schubert Barer † The Westin Hotel, Seattle † Mitsubishi Corporation (Americas) $25,000 - $49,999 Holland America Line ◊ Neon Taco † Alaska Airlines Lakeside Industries $3,000 - $4,999 O Wines † Bank of America Lino Tagliapietra Inc. Amphion Foundation Paul & Dottie Foundation of the DuPage Foundation Boeing Matching Gifts Program Perkins Coie LLP The Capital Grille † The PONCHO Foundation Chihuly Studio † RBC Wealth Management Clark Nuber The Ruth and Robert Satter Classic Pianos ◊ Robert Chinn Foundation Dick’s Drive-In ◊ Charitable Trust DSquared † Treeline Foundation Fast Water Heater Co Steinway & Sons Seattle/Bellevue ◊ Encore Media Group † U.S. Bank Foundation Grand Image Art † Sun Liquor † J.P. Morgan Chase & Co. Weill Music Institute † Lane Powell PC Thompson Seattle † Nordstrom Wells Fargo Foundation Schwabe, Williamson & Wyatt Tolo Events † Seattle Cancer Care Alliance Anonymous Tesla Motors † Tulalip Tribes Charitable Fund Wells Fargo Private Bank Yamaha $5,000 - $9,999 UBS Employee Giving Programs Wilson Sonsini Goodrich & Rosati AETNA Casualty and Surety $15,000 - $24,999 $1,000 - $2,999 Foundation Apex Foundation Chihuly Garden + Glass Alfred and Tillie Shemanski Trust Fund Wyman Youth Trust Clowes Fund, Inc. Atsuhiko & Ina Goodwin Tateuchi Bank of America Foundation Matching Foundation Jean K. Lafromboise Foundation Gifts Program Brown Bear Car Wash † In-Kind Support KCTS 9 † Big Mario’s Pizza † Citi Community Capital ◊ Financial and In-Kind Support Northwest Center Butler Valet † Creelman Foundation Peach Foundation Cadence Winery † Davis Wright Tremaine Port Blakely Consulate of the Republic of Poland in GE Foundation Seattle Rosanna, Inc. † Glazer’s Camera † DreamBox Learning 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.

encoremediagroup.com/programs 57 SEATTLE SYMPHONY YOUR GUIDE TO THE SEATTLE SYMPHONY SPECIAL EVENTS SPONSORS & SYMPHONICA, THE SYMPHONY STORE: COUGH DROPS: Cough drops are available Located in The Boeing Company Gallery, Symphonica is from ushers. COMMITTEES open weekdays from 11am–2pm and 90 minutes prior to SERVICES FOR PATRONS WITH DISABILITIES: all Seattle Symphony performances through intermission. Special Events provide significant funding each season Benaroya Hall is barrier-free and meets or exceeds all to the Seattle Symphony. We gratefully recognize our PARKING: Prepaid parking may be purchased criteria established by the Americans with Disabilities presenting sponsors and committees who make these online or through the Ticket Office. Act (ADA). Wheelchair locations and seating for those events possible. Individuals who support the events with disabilities are available. Those with oxygen below are included among the Individual Donors COAT CHECK: The complimentary coat check tanks are asked to please switch to continuous listings. Likewise, our corporate and foundation is located in The Boeing Company Gallery. flow. Requests for accommodations should be partners are recognized for their support in the Corporate & Foundation Support listings. For more LATE SEATING: Late-arriving patrons will be seated made when purchasing tickets. For a full range of information about Seattle Symphony events, please at appropriate pauses in the performance, and are accommodations, please visit seattlesymphony.org. visit seattlesymphony.org/give/special-events. invited to listen to and watch performances on a monitor SERVICES FOR HARD-OF-HEARING PATRONS: located in the Samuel & Althea Stroum Grand Lobby. An infrared hearing system is available for patrons OPENING NIGHT GALA, SEPTEMBER 16, 2017 CAMERAS, CELL PHONES & RECORDERS: who are hard of hearing. Headsets are available Honoring Leslie and Dale Chihuly The use of cameras or audio-recording equipment at no charge on a first-come, first-served basis is strictly prohibited. Patrons are asked to turn off all in The Boeing Company Gallery coat check and SUPPORTING SPONSORS JPMorgan Chase & Co. personal electronic devices prior to the performance. at the Head Usher stations in both lobbies. Nordstrom ADMISSION OF CHILDREN: Children under the age of LOST AND FOUND: Please contact the Head 5 will not be admitted to Seattle Symphony performances Usher immediately following the performance or CO-CHAIRS Renée Brisbois except for specific age-appropriate children’s concerts. call Benaroya Hall security at 206.215.4715. Terry Hecker EMERGENCY PHONE NUMBER: Please leave the HOST YOUR EVENT HERE: Excellent dates are appropriate phone number, listed below, and your exact available for those wishing to plan an event in the S. Mark COMMITTEE Kathleen Boyer Hisayo Nakajima seat location (aisle, section, row and seat number) with Taper Foundation Auditorium, the Illsley Ball Nordstrom Dr. Meredith Broderick Paul Rafanelli your sitter or service so we may easily locate you in Recital Hall, the Samuel & Althea Stroum Grand Zartouhi Elizabeth Roberts the event of an emergency: S. Mark Taper Foundation Lobby and the Norcliffe Founders Room. Dombourian-Eby Jon Rosen Auditorium, 206.215.4825; Illsley Ball Nordstrom Recital Visit seattlesymphony.org/benaroyahall Kathy Fahlman Dewalt Christine Suignard Hall, 206.215.4776. for more information. Beth Ketcham

HOLIDAY MUSICAL SALUTE, DECEMBER 5, 2017

CO-CHAIRS Rebecca Ebsworth DINING AT BENAROYA HALL Michelle Codd

COMMITTEE LOBBY BAR SERVICE: Food and beverage bars in the Samuel & Althea Stroum Grand Lobby are open 75 minutes prior Dr. Meredith Broderick Tiffany Moss to Seattle Symphony performances and during intermission. Pre-order at the lobby bars before the performance to avoid Roberta Downey Kirsten Towfiq waiting in line at intermission. Kathleen Mitrovich

MUSE, IN THE NORCLIFFE FOUNDERS ROOM AT BENAROYA HALL: Muse blends the elegance of downtown dining with the casual comfort of the nearby Pike Place Market, offering delicious, inventive menus with the best local and TEN GRANDS, MAY 12, 2018 seasonal produce available. Open two hours prior to most Seattle Symphony performances and select non-Symphony Kathy Fahlman Dewalt performances. Reservations are encouraged, but walk-ins are also welcome. To make a reservation, please visit Co-Founder and Executive Director opentable.com or call 206.336.6699. COMMITTEE DAVIDS & CO.: Davids & Co. presents a mashup of barbecue traditions which includes choices like spoon tender pulled Rosanna Bowles Fawn Spady pork, homemade quiche of the day, smoked sliced brisket and other delightful surprises, offering the perfect spot to grab Cheri Brennan Saul Spady a quick weekday lunch or a casual meal before a show. Davids & Co., located in The Boeing Company Gallery, is open Stephen Dewalt Stephanie White Tom Horsley David Woolley-Wilson weekdays from 11am–2pm and two hours prior to most performances in the S. Mark Taper Foundation Auditorium. Ben Klinger Jessie Woolley-Wilson HONOR COFFEE: High-end espresso, served exceptionally well, in a warm and welcoming environment. Honor Carla Nichols Barbara Wortley Coffee, located in The Boeing Company Gallery, is open weekdays from 6:30am–3:30pm and two hours prior to most Ryan Matthew Porter performances in the S. Mark Taper Foundation Auditorium. CLUB LUDO, JUNE 9, 2017 DELICATUS: Delicatus is Seattle’s own cross cultural Delicatessen specializing in premium deli sandwiches, salads, specialty meats, artisan cheeses, craft beer and wine. Delicatus @ Benaroya Hall, located on the Second Avenue side of the Hall, is CHAIR open weekdays from 8am–4pm and two hours prior to most performances in the S. Mark Taper Foundation Auditorium. Tiffany Moss COMMITTEE Eric Berlinberg Erica Gomez Brittany Boulding Eric Jacobs Duncan Carey Jason Perkizas Samantha DeLuna Talia Silveri CONTACT US Jackie Ernst Saul Spady

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

GROUP SALES: [email protected] | 206.215.4818

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

58 SEATTLESYMPHONY.ORG THE LIS(Z)T SEEN & HEARD @ THE SEATTLE SYMPHONY seattlesymphony.org/liszt Photos: James Holt Photos: James

FRIENDS GO BEHIND THE SCENES On January 23 Friends of the Symphony enjoyed an Open are a unique opportunity for Friends of the Symphony to go Rehearsal & Discussion with Principal Guest Conductor & behind the scenes and witness the interplay between conductor Music Director Designate Thomas Dausgaard. The discussion, and musicians that goes into each Symphony performance. hosted by Board Chair-Elect René Ancinas, was the first Thank you to Thomas Dausgaard, René Ancinas and the opportunity for Symphony supporters to get to know Dausgaard orchestra for sharing this exclusive, insider experience. And a in person since he was named the Symphony’s next Music special thank you to all the Friends of the Symphony who make Director last October. Dausgaard will begin his role as Music the music possible. Director in September 2019. Generous music lovers like you bring our music to life! For Following the discussion, Friends joined Dausgaard and more information about Open Rehearsals or supporting your the orchestra for a working rehearsal of the week’s Brahms Symphony, visit us online at seattlesymphony.org/give or call program. Open Rehearsals occur throughout the season and 206.215.4832.

Thomas Dausgaard’s performances are generously underwritten by Grant and Dorrit Saviers through the Seattle Symphony’s Guest Artists Circle. Thomas Dausgaard’s performances receive additional funding from the Scan|Design Foundation by Inger and Jens Bruun.

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